If vcu wish a Comic Song which will please every one, send lor a copy of 
That Little Black Mustache, 

PS 635 es M. Dow. Price 30 cents. Sold by all music dealers. 

.Z9 

D524 

: opy i AMES' SERIES OF 

lNDARD AND MINOR DRAMA, 
% 1 J b'&3 5 NO. 114. 




PASSIONS. 



THE OAST OP CHARACTRRS, ENTRANCKS, AND EXITS, RELATIVE POSITIONS 
OP THE PERFORMERS ON THE STAGE, DESCRIPTION OF COS- 
TUMES, AND THE WHOLE OF THE STAGE BUSINESS, 
AS PERFORMED AT THE PRINCIPAL 
AMERICAN AND ENGLISH 
THEATRES. 




CLYDE, OHIO: 
D. AMES, PUBLISHER. 




Catalogues of ALL PUBLISHED PLAYS on receipt of 3 cent stamp 



AMES' SERIES OF ACTING PLAYS. 

PRICK FIFTEEN CENTS EACH. — CATALOGUES FBEE. 

C--S* S£-^> 

NO. M. P. 

12 A Capital Match, farce, 1 act, by J. M. Morton 3 2 

30 A Day Well Spent, farce, 1 act, by John Oxenford 7 5 

2 A Desperate Game, comic drama, 1 act, by Morton 3 2 

75 Adrift, temp drama, 3 acts, by C. W. Babcock, M. D 6 4 

80 Alarmingly Suspicious, comrdietta, 1 act, J. P. Simpson. ..4 3 

39 A Life's Revenge, drama, 3 acts, by W. E. Suter 7 5 

78 An Awful Criminal, farce, 1 act, by J. Palg;ave Simpson...3 3 

15 An Unhappy Paiv, ethiop'n farce, I act, by G. W. H. Griffin ..1 1 

65 An Unwelcome Return, com' intl'd, 1 act, by Geo. A.Munson 3 1 

31 A Pet of the Public, farce, 1 act, by Edward Sterling 4 2 

21 A Romantic Attachment, eomed'tta, 1 act, by Arthur Wood... 3 3 
43 Arrah DeBaugh, drama, 5 acts, by. F. C. Kinnaman 7 5 

73 At Last, iemperance drama, 3 acts, by G. C. Vautrot 7 1 

20 A Ticket of Leave, farce, 1 act, by Watts Phillips 3 2 

100 Aurora Floyd, drama, 2 act, by W. E. Suter 7 3 

89 Beauty of Lyons, dom drama, 3 acts, by W. T. MoncriefOl 2 

8 Better Half, comedietta, 1 act, by T. J. Williams 5 2 

98 Black Statue, ethiopcan farce, 1 act, by C. White 3 2 

113 Bill Detrick, inelo drama, 3 acts, by A. Newton Field 6 4 

86 Black vs White, farce, 1 act, by Geo. S. Vautrot 4 2 

14 Brigands of Calabria, rom drama, 1 act, W. E. Suter 6 1 

22 Captain Smith, farce, 1 act, by E. Berrie 3 3 

84 Cheek will Win, farce, 1 act, by W. E. Suter 3 

49 Der two Surprises, dutch farce, 1 act, by M. A. D. Clifton ..1 1 

72 Deuce io in Him, farce, 1 act, by R. J. Raymond 5 1 

19 Did I Dream it? farce, 1 act, by J. P. Wooler 4 3 

42 Domestic Felicity, farce, 1 act, by Hattie L. Lambla 1 1 

60 Driven to the Wall, play, 4 acts, by A. D.Ames 10 3 

27 Fetter Lane to Gravesend, ethiopean farce 2 

13 Give me my Wife, farce, 1 act, by W. E. Suter 3 3 

117 Hal Hazard, military drama, 4 acts, by Fred G. Andrews... 8 3 

50 Hamlet, tragedy, 5 acts, by Shakespeare 15 3 

24 Handy Andy, ethiopean farce, 1 act 2 

G6 Hans, the Dutch J. P., dutch farce, 1 act, by F. L. Cutler. ..3 1 

116 Hash, farce, 1 act, by W. Henri Wilkins 4 2 

52 Henry Granden, drama, 3 acts, by Frank L. Bingham 11 8 

17 Hints on Elocution and how to become an Actor, 

103 How Sister P. got Child Baptized, etho farce, 1 act, 2 1 

76 How He Did It, comic drama, 1 act, by John Parry 3 2 

74 How Lo tame Mother-in-law, farce, 1 act, by IT. J. Byron. ..4 2 

:Vo How Stout You're Getting, farce, 1 act, by J. M.Morton 5 2 

2li Hunter of the Alps, drama, 1 act, by Win. Dtmond 9 4 

47 In the Wrong Box, etho farce, 1 act, by M. A. D. Clifton 3 

95 In the Wrong Clothes, farce, 1 act, 5 3 

77 Joe's Visit, etho faree, 1 act, by A. Leavitt it H. Eagan 2 1 

11 John Smith, farce, 1 act, by W. Hrncock 5 3 

99 Jumbo Jum, farce, 1 act 4 3 

82 Killing Time, farce, 1 act, 1 1 

9 Lady Audley's Secret, drama, 2 act, by W. E. Suter 6 4 

3 Lady of Lyons, -.drama, 5 acts, by Bulwer 12 5 

104 Lost, temperance drama, 3 acts, by F. L. Cutler 6 2 

10C Lodgings for Two, comic sketch, 1 act, by F. L. Cutler 3 

/£•©*■ Catalogue continued on next page of cover. 



PASSIONS, 

AN ORIGINAL COMEDY 



I]S" FOUR ACTS, 



BY 



F. MAS 21 A DURE DEY, 



AUTHOR OF 

Called to Account; H. M. S. Plum; A Fortunate Fortune, Vmgtanci 
is Mine; Lost; Manchietto; Etc. 

WITH A DESCRIPTION OF COSTUMES, CAST OF THE CHARACTERS,, 

RELATIVE POSITION OF PERFORMERS ON THE STAGE, ENTRANCES 

AND EXITS, AND THE WHOLE OF THE STAGE BUSINESS. 

As performed at the principal American and English Theatres. 



Correctly printed from the Original Manuscript of the Author. 



Entered according to act of Congress, in the year 1881, by 

A. D. AMES, 
in the office of the Librarian of Congress, at Washington, 



CLYDE, OHIO: 




A. D. AMES! PUBLISHER. 






PASSIONS. 



CHARACTERS. 



Richard Leonard A\city boy of to-day 

Frank Hayden His intimate friend 

Rodger Lang Of questionable merit 

Br. Charles Reade At peace with himself 

Peter Richard Leonard' s\servant 

Justice Very extraordinary 

Clerk Fond of silence 

Policeman No. 1 Of the Park force 

Policeman No. 2 Of the Regular force 

Liliian Trelyawney An orphan and heiress 

Laura Leonard Richard Leonard's sister 

Sallie Jordan In which some young ladies may see themselves 

Jane • Lillian's maid 



PERIOD — THE PRESENT. 



SCENE. — BROOKLYN, (N. Y.) AND PROSPECT PARK. 



Lillian Trelyawney. — Blonde; ACT 2. Rich walking dress for summer; 
light blue shawl ; hat with wide brim setting back on head ; figured para- 
Bol ; book and fan. 

ACT 3.— SCENE 1st. Princess wrapper of pink or blue.— SCENE 2nd. 
Bober walking dress and hat. 

ACT 4. — Afternoon dress of black silk, hat to match, gloves fan and belt. 

Laura Leonard. — ACT 1. Rich afternoon dress for summer ; fan. 

ACT 2. — Walking dre3S, hal, fan and parasol. 

ACT 3.— Sober dark morning dress, hat to match, fan. 

ACT 4.— Same as 1st. Brunette. 

Sallie Jordan. — Same a3 Laura, except in 1st. and 2nd. acts. Richly 
trimmed walking dress, hat and parasol, noticably bright colors. 

Jane. — Common brown dress ; iron grey hair, large apron. 

Richard Leonard.— ACT 1. White flannel suit, white soft hat, stiff brim, 
black stockings, oxford ties. 

ACT 2. — Same as 1st., with cane. 

ACT 3. — Common dark business suit. 

ACT 4. Same as 3rd. Dark complexion. 

Frank Hayden.— Same as Richard, in 1st and 2nd acts. 

ACT 4. — Dressing gown and slippers. Light complexion. 

Roger Lang. — Mixed ecru suit, light high hat; gold-headei cane, paten* 
leather shoes ; loud fob chain, button-hole boquet; mustache and goatee i 
throughout the play. 

Dr. Charles Reade.— Grey hair and side whiskers, black professional 
Buit, medicine case. 

Clerk. 6 ' \ Plain dark 8uit3 ' 

Policeman No. 1. — Uniform of the Park Force. 

Policeman No. 2. " " Regular Force. 

Peter. — English Footman's dress, made up fifty years of age. 



TMPS2-009092 



PASSIONS. 
ACT I. 

SCENE FIRST.— Sitting room at Leonard's. Nicely furnished. Laura 
discovered sitting at table, l. c, reading. Enter Richard Leonard, c. lie 
goes to chair, r. c, opposite Laura and throws himself into it, and fans him- 
self with his hat, 

Richard. Je-ru-sa-lum ! It's hot, sister mine. Whew! A fellow 
wants to carry a chunk of ice around with him in order to feel half way 
respectable this sort of weather. Ninety-eight in the shade, by gum ! 

Laura. How you do talk, Dick. You astonish me ! 

Rich. Yes, Laura, I always do astonish you when I say anything. You 
don't cotton to my way of speaking— 1 believe you call it slang — but its very 
expressive. Got a fan ? 

Lau. (laughingly) Yes. 

Rich, (mimicking) Ye-es ! Now Laura, look here, you love your brother, 
don't you? Of course you do. I'm going to make a bargain with you— if 
you will take a big drop' on my slang, I'll agree to block the "sours," and 
all that sort o' thing. In short, if you will not say anything more to me 
about my language, I will hot give' you occasion to help me into the house 
again. 

Lau. And will you promise not to drink any more ? {rising) 

Rich. I did not say that, but that I won't get full again. Come, I think 
that is saying a good deal. 

Lau. (coming toward him) I suppose I ought to be satisfied, -but I wish 
you would not drink any more at all. 

Rich. So do I, my dear, but that is all the good it does, so don't begin 
to harp on that subject or I shall want you to go back to slang. Say, sis- 
ter— {turning suddenly) — what brings that Lang here so often? I don't 
more than half like him, so don't be surprised if I kick him out some of 
these days. 

Lau. {returning to seat) He come3 b ecause he wants to, I suppose, and 
because he knows he is welcome. 

Rich. Who does he come to see. Sail, or you? She always happens in 
about the time he does. 

Lau. I never asked him particularly who he came to see, but I suppose 
that, inasmuch as he comes here he naturally expects to see me, at least. 
Rich. You don't mean it! 

Enter Peter c. with card. Richard glances at it. 

Talk of the devil and he's sure to pop in. All right, Peter, tell him 
we're sorry he came, but as he is here he may as well come up. 

(Peter going 

Lau. Stop, Peter. Who i3 it Dick? Mr. Lang? Show him in, Peter, 
and without delivering mv brother's message. (exit Peter, c. 

Rich, (calling) Peter f (re-enter Peter, c.) Tell him not to hurry. 
U) (exit Peter, c. 

Lau. You ought to be ashamed of yourself, Dick, for making so free 
with the servants. Now what do you suppose Peter will think, and say 
too about the message you were going to send to Mr. Lang. 
, Rich. Laura, do you think because Peter is a servant that he is a wild 



4 PASSIONS. 

animal or a monkey? Don't you suppose that he is gifted with a little in- 
tellect? Or not that, with instinct? Why, bless you, my dear sister, he 
would do three times as much for me to-day as he would for you, and for 
half the asking. And why ! Simply because I remember he is a man. 
You treat him as though he was a machine. Do you think he would have 
told Lang what I aaid ? ifot miw-h ! 

Enter Lang C-. comes doicn between Richard and Laura. 

Here comes your Turk. Row are you Lang ? Been out of town lately? 

Lanq. (c.) Good afternoon Miaa Leonard, I hope I find you well? (to 
Richard) No, not in the last month. Why do you ask ? 

Rich. Oh, I hadn't seen you in such a deuce of a while that I conjectur- 
ed you had been away. 

Lau. Why, Dick, Mr. Lang was here only the day before yesterday, 
and you spent all of half an hour talking to him. 

Rich. That's so, by Jove I I had forgotten it. Isn't it most time Sallie 
was coming in ? 

Lang, (to Laura) Are you expecting a call from Miss Jordan this 
afternoon ? 

Lau. Yes, she runs in nearly every day. 

Rich. I think I will go and see if she isn't on her way. You'll excuse 
me, won't you Lang. 

Lang. Certainly. (Richard, exit c. 

And now, Miss Leonard — Laura — I have an opportunity to tell you what 
I have been wanting to so long. You must have seen by my actions that 
I love you. Will you be my wife, Laura? (taking her hand ) 

Lau. (loithdrawing hand) But, Mr. Lang! this is so sudden, so unex- 
pected that I don't know what to say. I— I — thought you were in love 
with Sallie. 

Lang. What! Miss Jordan? No, Laura, it is you I love. It is you 
that I think of while awake, and dream of when sleeping. With you this 
world will be to me as a continual garden of flowers, that time can never 
wither. Without you life would be a barren, unsatisfactory thing, gladly 
to be gotten rid of. Don't you love me, Laura ? 

Lau. (petulantly) How do I know whether I love you or not? I think 
you are real mean to tease me so. (sobbing 

Lang, (putting his arm around her waist and drawing her to him) My 
darling, don't cry. 

Enter Frank, C, suddenly — he starts at seeing them, and turns around his 
back to them and coughs. Lang and Laura separate, going to opposite sides 
of the stage. 

Frank, (turning slowly) I wonder where Dick is ! Oh, I beg your par- 
don — I thought there was no one here. How-de-do, Laura? (bows to Lang) 
I walked right in as usual, but have not been able to find Dick — do you 
know where he is? 

Lau. He is somewhere about the house. Help yourself to a seat and I 
will find him for you. 

Frank, (sitting) Thanks. (Exit Laura, c. 

Frank, (takes a package of cigarettes from his pocket) Have a smoke, 
Lang? 

Lang. No, thank you — I never smoke in the ladies' rooms. 

Frank. No? (lighting a cigarette) Well, there is one strong point of 
somparison between us, I do — when the ladies are billing. Now Laura——, 

Lang. Sir ! 

Frank. Eh ? 

Lang. Did you refer to Miss Leonard ? 

Frank. Yes, certainly. As I was saying, Laura likes ■ ■ » 

Lang. Who ? 

Frank. Laura ! Confound it man, are you deaf ? 



PASSIONS. 5 

Lang. Not exactly ; but did I not understand you to refer to Miss Leon- 
ard as Laura ? 

Frank. You did. Hr.ve you any objections ? 

Lang. I have — decided ones. 

Frank. The deuce you have 1 Will you give them to me? 

Lang. With pleasure. Miss Leonard is my affianced wife. 

Frank. Your what? 

Lang. My pi-omised wife. 

Frank. Oh ! Why didn't you say so at first-? Well, Lang, I congrat- 
ulate you — I wish I could do the same former. 

Lang. What do you mean ? 

Frank. Mean? Oh, nothing— I never mean anything. But I don't see 
what all this has to do with my not addressing her by her given name. 

Lang. It has everything to do with it, sir. 

Frank. Has it? "Oh, well, I hear Dick's step coming thi3 way, and we 
will leave it to him. I'm not particular what I call her you know — Betsey, 
Juliet, anything. 

Enter Richard, c, ivith a mock tragic bearing, 

.Rich. "They tell me Francois is come,' and I must meet him with a 

smile as happy and as gay as though it was not he who " Why, how 

are you, Frank ? Lang, Laura wished me to send you to her, she is resting 
her weary frame against the door post of the library. 

(Lang bows, and is going C. 
Frank. I say, Lang, give Lollie my love, won't you? (exit Lang, c. 
Rich, (sits) Well, old fellow, how are you ? 
Frank. Bang-up, so to speak. 
Rich. That's good. 

Frank. I say, Dick, how are your nerves ? 
Rich. Never better. Why ? 

Frank. I've got some important news for you. You are sure you are 
strong enough to bear it? 

Rich. Of course I am. What are you talking about? 

Frank. On my way up here I met Who do you suppose I met ? 

Rich. How in thunder do I know who you met ? 

Frank. Well, I met Take a cigarette, you look rather pale. 

Rich. I'll take your head off soon, if you don't out with it. 
Frank. Lillian Trelyawney. 
Rich. The devil ! 
Frank. No — Lillian. 
Rich. Oh, come now, she's in Europe. 

Frank. I met her and talked with her, so it is my opinion that she is at 
this moment in Brooklyn. 
Rich. She back ! Did she bring her husband with her? 
Frank. She has none. 

Rich. Not married? I thought she married a French count, or baron, 
or king, or something. 

Frank. So did I, but it seems she did not. Haven't you got over that 
old passion of yours yet? 
Rich. By Jove, Frank, I thought I had, but I'm afraid not. 

(walks to and fro 
Frank. Time will tell, my boy — it scrapes away everything. 
Rich. I tell you Frank, it's no use, I'm completely kerfiummixed by the 
news — however, there's no use blubbering over spilt milk. (sits 

Frank. I'm glad to see you take it so philosophically my dear boy — 
there's nothing like a perfect "indifference to the world if you want to be 
happy. 

Enter, Laura, c. 

Frank. Hallo ! Here comes Laura again. Got rid of Lang already, 
my dear? I suppose you've heard of Mi=3 Trelyawney'3 return ? Dick 
and I have been discussing it. 



6 PASSIONS. 

Lau. "Will you be glad to see her, Dick ? 

Rich. Certainly. Why shouldn't I ? Invite her up some night before 
long, won't you ? Frank, sit still. Laura, what became of Lang? I don't 
half like that fellow, and have a good mind to tell him to stay away. 
You don't like him, do you? Frank, what in thunder are you grinning 
about — feel bad anywhere? 

Frank. Nothing — simply thinking. 

Rich. Well, don't do it — it's a bad habit to get into, /never think — 
don't believe in it — knocks a fellow clean out of time. 

Lau. Good gracious, Dick, what is the matter? You are talking a 
steady string. Do give. Frank a chance to say a word? 

Rich. He'll get a chance, never fear. Let Frank alone for that. 

Frank, {laughing) Yes, lean generally hold my end up. 

Lau. How you boys do talk slang — every other word, almost. 

Rich. Now" that's what [ call too bad. Boys! Humph ! Not twenty- 
one yet though, that's the deuce of it 1 Now if I had lived just one year 
longer you know, the Alderman 

Lau. Oh, Dick, don't call father that ! 

Rich. Keyrect, sister mine. The old gent 

Lau. Mercy ! That is worse still. 

Rich, (with mock dignity) Laura, I wish you would not interrupt me in 
this style when I am conversing with a gentleman. It's bad manners. 
As I was saying Frank, if I had inhaled the pure atmospheric effulgencies 
that surround the little hamlets, villages and cities of this terrestial globe, 
for the space of three hundred and sixty-five days prior to the time when 
I did make my gracious appearance, I would not now be a menial slave — a 
boy, as my beautiful sister pleases to call me — but could command instead 
of being commanded. How's that for high, sweet sister? Nary slang 
there. 

Frank. Ha, ha, ha ! Tone him up a little, Laura, and he'll simmer 
down o. k., never fear. 

Lau. Dick, I have a piece of news for you. 

Rich. Well, don't tell rne now — I've had my fill for one day. Bank it, 
sister dear, and give me a check in the morning. 

Lau. But Dick, I am engaged. 

Rich. No-o-o! Not to Roger Lang ! 

Lau. Yes — to Roger Lang. 

Rich. Well, by Jove you'll never get my consent. I don't like that 
fellow. I thought you had more sense, Laura — the idea of engaging your- 
self to that thing, when I wanted you and Frank to become fond of each 
other. Now you just drop Lang and marry Frank, and I'll clap my hands 
and crow. {Frank and Laura laugh) If you don't, I'll go to the Gov'nor 
with a stack of lies about Lang, so you can't get his consent. Come on, 
Frank. {going 

Lnu. {stepping in front of him) Don't Dick. Please don't. 

Rich. Why. Frank, Factually believe the girl is gone on him. (sighs) 
Well, I've been there. I won't go to father to-day, my dear. 

Frank. No, Dick, I wouldn't interfere. 

Rich. I'm not going to, only L wanted you to marry Laura, and then we 
would be brothers in earnest. 

Lau. Friends will do just as well I think. 

(Richard saunters to back of stage near entrance 

Lau. (to Frank) Isn't Dick in love with Lillie? 

Frank. Bless you, I don't know. 

Rich, (near entrance) "Behold, the sun is sinking in the west, Lucul- 
lus, my slave, bil-ig forth my — " 

Enter hastily, Sallie Jordan, c. who collides with Richard. 

Rich. Chris-to-pher ! I always gave Brooklyn girls the credit of 
having little feet, but I'm blessed if they haven't got pienty of weight on 
top of them. My favorite corn, too. 



PASSIONS. 7 

Sallie. I beg your pardon, cousin Dick, I did not see you. Awfully 
warm, isn't it? 

Rich. Of course not, I'm so small. Lang is gone ! 

Sallie. Gone where ? 

Rich. Crazy I guess. You're on the fence, any way. Cousin Laura's 
booked. Come Frank, let's get out of ttiis. 

Frank. I'm ready. {exit Richard, c.~ Frank going , 

Sallie. Stop a minute, Frank. We are going to have a croquet party to- 
morrow at the Park, and we want ;mh ami'Dick. Tell him please, when 
yon go out. 

Rich, (outside) Are you coming, Frank? 

Frank. Coming, love. (exit Frank, c. 

Sallie. What did Dick mean, Laura, when he said that Mr. Lang was 
crazy, and you were booked ? (sitting) 

Lau. He meant that Mr. Lang and I were engaged. 

Sallie. (clapping hands and drawing chair close to Laura) Oh! isn't 
that nice. Tell me all about it, dear. 

Lau. There is nothing to tell, only the mere facts. 

Enter Peter, c. 

Lau. Well, Peter? 

Peter. Mr. Richard sent me to ask you if you knew where his Derby 
hat is. 

Lau. You tell him I don't know where it is. He must keep track of 
his own things. 

Peter. But he said — he said — 

Lau. Well, what did he say? 

Peter. He said you wore it last, Miss Laura. 

Lau. You just tell him I wear my own things, and I haven't seen his 
horrid hat. Did he say anything else? 

Peter. Yes, Miss Laura, he wanted me to ask you if you would be so 
kind as to sew on a button for him. He said as how he had sewed his 
finger fast three times. 

Lau. (rising) Oh dear. What things brothers are, to be sure. Will 
you wait here, Sallie? 

Sallie. Yes, I'll be here when you return. 

Lau. I won't be gone but a moment. (exit 0. followed by Peter 

Sallie. Well, this is something I did not expect. At least so soon. Roger 
Lang and Laura engaged. I don't believe they will ever get married. 
Roger is very nice, but to me there is something decidedly _ repulsive 
about him. Perhaps I think so because he did not pop the question to me. 
Lillie is back too— Dick I suppose will be after her again. Well, I wish 
him luck. He's an awful flirt though, and Frank doesn't care a straw for 
anybody. Oh, dear 1 What is a poor girl to do. 

Enter Frank, c. 

Frank. I've been looking all over the blessed house for Dick's hat and 
can't find it anywhere. Have you seen it, Sally ? 

Sallie. (rising) How in the world should I see his hat. 

Frank. With your eyes, of course. There it is now, under your chair. 
(starts for it, Sally grabs it up and puts it on her head, then springs behind 
the table. Frank tries to catch her.) 

Enter Laura, o. 

Lau. (coming forward) Whv, what in the world are you doing! 
Frank. I'm trying to get tha't hat. She has had it all the while, (catches 
her) There ! (takes hat then kisses her cheek and runs) Ha, ha, ha ! 

Sallie. You horrid thing 1 (wipes cheek with hand 

CURTAIN. 



PASSIONS. 



ACT II, 



SCENE FIRST.— A shady retreat in Prospect Park. Lillian Trel- 
yawney discovered musing, on a rustic bench, b. 3 E.with an open book in her 
lap. 

Lil. (sighing) So I am home again. After this long absence I return to 
find everything looking and acting exactly the same as before my depart- 
ure. Well, I don't suppose I hare been missed much, although calls have 
been pouring in until I am tired out with receiving. 

Enter Richard, at rear, Lilian does not see him. 

Lil. It seems to me very strange though that the Leonards haven't 
called to welcome me. Only this short note from Laura, asking me to 
meet her at the Park to-day. Laura used to think so much of me, and 
Dick — Faugh ! he pretended he did. 

Rich, (aside) There is many a true word spoken in jest. (Richard 
draivs a cigarette from his pocket and strikes a light, at which soimd Lillian 
starts. — Richard proceeds with " lighting up," then tipping his hat and com- 
ing forward.) I beg your pardon, Madam. Why ! Lillian is that you? (Lil- 
lian rises) Jolly glad to see you ! Am, honestly. How fortunate too. 
Laura and Mr. Lang — know Lang ? Yes. So much the worse for you — 
I mean better of course — 

Lil. (coughing) How I do detest those horrible cigarettes. They are 
positively enough to choke one. I can't see how you can smoke them. 

Rich, (blowing mouthful of smoke) Nor I. I manage to though — sorry 
you don't like them ; am honestly 1 As I 'was saying — Laura and Roger 
Lang, Sallie Jordan and Frank — remember Frank? 
Lil. Of course I remember Frank. 

Rich, (l.) Yes, of course ! Well, they are coming to the Park — to this 
identical sequestered spot, this afternoon, to revel in the transcendent de- 
lights of a game of croquet, (coming r.) And the worst of it is, they didn't 
furnish me with a girl. 

Lil. (re-seating herself ) Mr. Leonard ! (no reply) Mr. Leonard ! Dick! 

Rich, (goes behind bench) I beg your pardon, Lillie ! Did you speak to 
me ? 

Lil. Of courseL did. Who else is there here that I could speak to? I 
wish there was. I rather think you heard me, too. 

Rich, (blowing smoke) Did I. Of course if you say I did I must. Ex- 
cuse my abstraction, I was thinking very intently. 

Lil. (half turning in scat) What were you thinking about ? 

Rich, (carelessly) Of what a fool I had made of myself. 

Lil. Yes ? How ? 

Rich. Why, not getting a girl to come with me to-day. But you see 
Laura particulary requested me not to, and I always try to oblige my sister, 
although I think it was rather mean in her this time. Don't you? 

Lil. (with emphasis) Very. (a moments silence 

Rich. Lillie. 

Lil. Well. 

Rich. Will you be my wife. (puffing smoke 

Lil. (rising hastily and coming down to L.) Well, I never ! 

Rich, (seating himself on bench) Urn! Pinafore! It is quite evident 
that you have been abroad, my dear. But won't you give me an answer, 
please ? 

Lil. (angrily) What do you mean, sir I 

Mich, (carelessly) Exactly what I said. 



PASSIONS. 9 

Enter c. Laura, Sallie, Ling and Frank, the latter carrying croquet box be- 
tween them, Laura and Sallie kiss Lillie, the gc/itlemen lift their hats, 
Richard comes down to r. 

Lau. Lillie, h >w glad I am to see you. You must have had an elegant 
time. 

Frank, {setting down box) Brought home all the fashions with her, 
Lol — told me so yesterday. 

Rich, (r.) Frank! 

Frank. Hello! There's General Debility. He and Lillie have been 
flirting tremenduously, I'll bet. What is it Dick? 

Rich, {without turning) Come here a moment. (Frank comes forward) 
I want you to do me a favor. (others continue talking 

Frank. Name it, King. 

Rich. None of your chaff now. I'm serious, 

Frank, (exclaiming) Run for a doctor, somebody! He's serious ! 

Rich. Dry up, Frank ! I want you to make desperate love to Lillie. 
See? 

Frank. Mo — o — o. Can't say I do. 

Rich. Listen then. You know I haven't any secrets from yo^, and 
therefore you know I love Lillie. Well, she don't care a 

Lau. [calling) Dick ! 

Rich, (calling back) Confound it! In a moment. She don't care a 
straw for me ; I'm certain of that. Now you're not particular who you 
make love to — 

Frank. Thank you ! 

Rich. You are welcome. So you make love to Lillie, and I'll look after 
my cousin for you. 

Frank, (scratching his head) Ye — s, but I don't exactly see your game. 

Rich. The game will come in afterwards. You go ahead and I'll let you 
know when to stop. 

Frank. Thank you ! 

Rich. Don't mention it. 
I Lau. (calling) Frank. Dick. 

Frank. Presently, Laura, presently, (to Richard) Don't forget to let 
me know where to stop, Dick, for I might go too far you know. 

Rich. Oh, I won't, don't worry. 

Lau. (calling) Richard come here! 

Rich, (to Frank) When she says Richard, she means Richard. I'm 
coming, sister. 

^Lang. (to Richard) I say, Leonard, will you join us in a game of 
croquet ? 

Rich, (turning to Lang) Beg pardon, did you speak to me ? 

Lang. I did. 

Rich. Well please don't do it again. Sallie, will you come with me? 
We'll have a stroll while they are putting up the wickets. 

Sallie. Oh, certainly. (both going 

Lau. But Dick, 1 wanted you to help. 

Rich. Oh, Lang can do that, (exit Richard and Sallie, R. Frank re- 
mains at r., complacently regarding others, Lillian strolls to left and plucks 
leaves from rose bush) 

Lang, (to Laura) Laura, that brother of your's don't like me evident- 
ly. 

Lau. It is rather evident. Pick up the box and we will follow them. 
He is acting very foolishly. Lillie, you and Frank can follow us whei 
you get ready. Come Roger. (exit r. 

Lang, (lifting box) I suppose I may as well follow. Well, she's bo** 
now. It is my turn next. (exit with box, R. 1 b. 

Lil. (coming forward) Frank! 

Frank, (starting) Eh? Oh! What is it. 

Lil. What was Dick saying to you when you first came T 



10 PASSIONS. 

Frank. Dick? Why, he — that is — nothing! 

Lil. But he must have been saying something, and I think it was aboul 
me. 

Frank. About you ? Oh, no. I'm sure nothing was further from hij 
thoughts. 

Lil. {indignantly) Indeed ! 

Frank. Or word, (aside) I suppose if I am to make love to her I might 
as well begin now, but for the life of me I don't know how or where to 
commence. Lillie, what do you think of me ? 

Lil. (sighing) You? Oh, nothing. 

Frank, (aside) That's flattering, (desperately) What do you think of 
Dick, then ? 

Lil. (starting) Of Dick ! (with dignity) Why do you ask that, sir ? 

Frank, (aside) I'm inclined to believe she's in love with his highness 
now. I'll make a clean breast of the whole thing. Lillie, what do you 
think Dick thinks of you? 

Lil. How do I know what he thinks of me. He wasn't overjoyed to 
see me after so long an absence. 

Frank. Exactly what proves that he was glad. If it had been other- 
wise he would almost have hugged you to make you feel welcome. Oh, 
that's Dick all over. 

Lil. Did he not say something to you about me, just before he went off 
with that Saliie Jordan ? 

Frank, (aside) Hello ! Jealous ! (aloud) Yes, he did. 

Lil. (excitedly) I thought as much. What was it ? 

Frank. He told me he wanted me to make desperate love to you. 

Lil. (starting back and laughing) Y'ou ! make love to me! 

Frank. Certainly ; why not ? 

Lil. Ha, ha, ha, ha ! Why! its perfectly absurd. 

Frank, (aside) By jove, that's cool, (alou I) Excuse me if I fail to 
see the absurdity that seems to be so vivid to you. 

Lil. (going up to Frank) Why did he ask you to do that? 

Frank, (carelessly, and sauntering to bench at n. 3 E.) Well, the fact is, 
the boy is more than half in love with you. Foolish, isn't it? (laughing 
and seating himself on bench ) 

Lil. (angrily) I do not see anything foolish and laughable about itl 

Frank, (languidly) No! nor 1. 1 think it is a burning shame! The 
idea, now, of his falling in love with you. I am sure he could have his 
cousin Saliie for the asking, and I rather think I'll suggest it. Dick only 
needs a suggestion from me, you know. We have been friends so long a 
time. 

Lil. (hastily going to Frank and taking seat beside him) Frank 1 

Frank. Well ? 

Lit. (earnestly) Can you keep a secret ? 

Frank. Try me. 

Lil. I will. I think a great deal of Dick. 

Frank, (rising and coming down to R.) I thought you were going to tell 
me a secret. I knoio that. 

Lil. (following) But more than that, I love him. 

Frank, (turning and looking at her a mo7nent, then throwing arms around 
her carelessly) 

Enter Richard, at r. 1 e., who appears surprised. 

Frank. That's the way to talk ! Now I love you — for Dick's sake. 

Rich. (r. aside) Progressing wonderfully ! Perhaps 1 have made a 
blunder; but no, I can trust Frank, I am sure. (exit r. 1 e. 

Lil. (draxoing back) You must not put your arms around me. 

Frank. Why not ? I promised Dick to "make love to you ami I must 
keep my word. 

Lil. (meaningly) Do you always keep your word ? 



PASSIONS* II 

Frank. Always ! 

Lil. "Will you make me a promise ? 

Frank. I'll promise you anything ! 

Lil. (after gaziiirj carefully around she goes up close to Frank in a corifi- 
dential manner) Then listen. I want you to continue making love to me. 
That is, make Dick think so. Call on me as often as convenient, and if h& 
says anything be very reticent on the subject. Now promise me this. 
That you will not tell Dick that I love him, but instead will lead him to> 
believe that you are in love with me — and vice versa, and do not explain 
until I give you permission. Will you promise? 

Frank, (slowly) 1 suppose so ; yes. 

Lil. (joyfully) Thank you 1 Now we will follow the rest of the party. 
Come along, (going) 

Frank, (procuring match from pocket — R.) I will follow as soon as I 
strike a light. 

Lil, Very well. Oh, won't I get even with master Dick now? Ha, ha, 
ha ! (exit, r. 1 e. 

Frank, (watching her) She's a witch, and no mistake ! I'm in a deuce 
of a pickle, anyway. What in the world did 1 make such an infernal fool 
of myself for? The result will be a row between Dick and I, probably. 
(lighti?ig match) Oh, hang the women ! (applying it) Well, I'm fast to- 
her apron string, and I faucy lean feel her pulling it now, so I may as> 
well go. (going toward r. 1 e. — stops) There comes Dick now. (return- 
ing) He'll be for questioning me. What in thunder shall I say ? 

Fnter Richard, R. 1 e., walks calmly down to L. without turning. 

Rich. Frank ! 

Frank, (turning quickly) Eh! 

Rich. How is it ? 

Frank. How is what? 

Rich. The love making. 

Frank. 0. K. 

Rich. So I thought. • 

Frank. Eh ? 

Rich. So I thought! 

Frank. What did you think? 

Rich. 0. K! 

Frank. What made you think that? 

Rich. The kiss. 

Frank. What kiss. ; 

Rich, Yours. 

Frank. Mine I 

Rich. Yours and Lillie's. 

Frank. How about croquet? f 

Rich, (impatiently) Croquet be hanged! I 

Frank. How about Sallie? 

Rich. Hang her too for all I care ! 

Fnter Sallie, R. 1 e., laughing and running up to Frank. 

Sallie. Oh, Frauk 1 I want you to listen to some poetry I have com- 
posed. (Richard retires up L. 

Frank, (interested) Give it to us! 

Sallie. (reading) "As I sat upon the stile — " 

Frank, (interrupting) Nothing like style, Sallie. Goon. 

Sallie. You must not interrupt. 

"As I sat upon the stile 

The face of nature seetn'd to smile — " 

Frank, (interrupting) What portion of her anatomy did you expect to 
and smiling, may I ask? 



L2 



PASSIONS. 



Sallie. {pouiwgly) I think you might listen, {continues reading) 
"Little crickets chirped and hopped — " 
s Frank, {interrupting) Fact in Natural History; it is their nature to. 
Sallie. "Little cricket chirped and hopped, 

From the oaks the acorns dropped." 
Frank. Did you ever see an acorn drop from a mulberry tree? 
Sallie. I won't read the rest if you interrupt me in this way. 
Frank. Proceed ; proceed. I'm dumb as an oyster. 
Sallie. '-All around a gentle hum — " 

Frank. Nature on a buzz, probably. 
Sallie. "From the insects, seemed to come — " 

Frank. Not scientificately accurate. 
Sallie. {desperately) 

'•And the west wind whispered while, 
Still I sat upon the stile." 
Frank. 'Twas full time fur you to descend, Sallie. 
Sallie. "But, though all was bathed in calm — " 

Frank. Except the poetess. 

Sallie. {indignantly) You're real mean, Frank Hayden ! 
Frank, {penitently) Go on ; goon ! I'll be quiet. 
Sallie. {continuing) 

"But though all was bathed in calm, 
And a soft and soothing balm — " 
Frank. Warranted every time; small bottles $1.00. 
Sallie. You need some, better spend a dollar. At least you won't hear 
any more of this. 

Rich, {coming down) Let us hear the rest of it, Sallie. Its very pretty, 
Sallie. {to Richard) Thank you Dick, {continuing) 

"Filled my soul yet bitter-/y. 
Frank. L-y-ly, with a lie! Goon. 
Sallie. {sticks up nose at Frank) 

"But though all was bathed in calm, 
And a soft and soothing balm 
Filled my soul, yet bitterly 
Moaned my tieart. Oh, why ? Oh, why ?" 
Frank. Give it up ! 

Sallie. You boys have no intellect and so cannot aj^preciate my efforts. 
Come and play croquet. {exit R. 1 e. 

Rich. Frank, to come back to first principles — what were you hugging 
Lillie for ? 
Frank, {strolling L.) According to instructions, Dick, that's all. 
Ricli. I didn't tell you to hug her. 

Frank. She didn't mind it, and therefore you shouldn't. 
Rich, {indignantly) I do though. 

Enter Lillian, running, r. 

Lil. {out of breath) Oh, Frank, come here quick ! Mr. Lang has fallen 
into the lake. 

Frank, {calmly) He knows how to swim. 

Rich, {bitterly) I wish he did not. {goes R. 

Lil. (l. — to Frank) Mr. Lang did not fall into the lake at all, but here 
is a note I just wrote to you, dating it two days back. Read it if vou 
please, but drop it somewhere so that Richard will find it. 



please, but drop it somewhere so that Kiehard will find it. You will un- 
derstand when you read it. {laying her hand on his shoulder, and looking up 
\>to his face. Frank opens note) 

Rich, (aside) If I had not known Frank to be a true friend for so many 
years, I should mistrust him now. As it is, I think I could almost strangle 
him. It is mostly my own fault though. I will leave them to their notes 
A\)d love sentenpps Be careful Frank, you are giving my love for you a 

{exit R. 1 e. 



<ik)d love sentences 
hard trial. 



PASSIONS. IS 

Lil. (c— joyously) He's gone, and mad with jealousy. 

Frank, (folloxoing her) Yes, but confound it, he'll be mad at me. 

Lil. He'll get over that when he knows the joke. 

Frank. Um ! I say Lillie, suppose I should fall in love with you in 
earnest? 

Lil. {stepping back) Oh, you mustn't do that. 

Frank. No-o-o ! But I am more than half inclined to give you a good 
kiss. 

Music soft. Enter Richard c. — stops on seeing them. 

Lil. (sees him — to Frank) You may if you want to. 

Frank. Honestly ? 

Lil. Of course. (Frank kisses her forehead . 

Rich, (coming forward — passionately) Is this the kind of friend you are 
Frank Hayden? You contemptible sneak ! You miserable apology for a 
man of honor! Had I not loved you so long, I could murder you now. 
Haven't you anything to say ? 

Frank steps back a little and looks at Lillian. She quickly steps to him and 
putting her right hand over his left shoulder places the first finger of her 
left hand over her lips. Frank gently puts her to one side. 

Frank. No Dick, nothing. 

Rich, (sarcastically) And you Miss Trelyawney — I perhaps ought to 
praise you by calling you the most accomplished flirt in Brooklyn. 

Lil. (angrily) I'm not a flirt. You're a-a-a beast. There ! 

Rich. Am I? Thanks. Had you not better kiss him again? Ugh! 
Won't you kis3 me ? 

Frank, (calmly) Be careful Dick — don't forget to be a gentleman. 

Rich, (wildly) By heaven, you drive me too far. 

Frank. You are acting foolishly, very. 

Rich, (crazed with anger) And you will die for your insolence. (He 
draws a revolver and levels it at Frank — Lillian spring? forward and strikes 
the weapon up and it is discharged in the air) . 

Lil. (excitedly) Dick, Dick ! What wiuld you do ? 

Rich. I would kill you both if it was in my power, but you being a 
woman, are safe. But I will not be foiled. 

Richard pushes Lillian a little aioay from Frank who has not moved, raises 
weapon and fires at Frank. Frank groans, staggers and falls on his face 
at Richard's feet. Lillian screams and falls fainting at Frank's side. 
Enter Park Policeman hastily c. followed by Lang, Laura and Sxllie — all 
are horror stricken — Sallie sinks down on bench, Laura leans her head on 
Lang's breast and sobs. Policeman goes towards Richard %oho has not 
seen him, but springs forward to Frank's side and places the muzzle of 
the revolver against his own head. 

Rich, (faintly) Frank, I follow. (He is about to fire when the Policeman 
knocks the pistol from his hand and drags him to centre of stage) 
Pol. With a rope instead of a bullet. 

Lau. (kneeling quickly before Policeman) Oh, do not say that ! 
Pol. This man is my prisoner. 

Positions. — Frank and Liilian lying R. c. — Sallie on bench, sobbing — Lang 
L. smiling — Policeman c. with hand lightly clasping Richard's arm, who 
stands with bowed head — Laura kneeling b. of Policeman— Tableau. 

CURTAIN. 



14 PASSIONS, 



ACT III. 

SCENE FIRST.— Bouioir of Lillian Trelyawney 3 1 grooves. Tible R. 1 k 
sofa L., chairs at table, pen and ink at table, sofa l., smill table l 3 e. Lillian 
at r. table with her head leaning on her hands, she rises ani goes near sofa L. 

Lil. Oh, what have I done ! Yesterday morn, a happy girl with not 
a care in the whole world ; and now — and now! Oh, I cannot think of it — 
it unnerves me. (crosses to r.) Ah, what have I not suffered since that 
fatal accident — and to think that I am the cause of all — it almost drives 
me frantic! I am mad — crazy! (crosses) I wish I could die — why can't 
I die? Is there no antidote for this poison which has entered my soul? 
Is there no haven of rest to which I can fly and forget the acts of the last 
two days? Will no one help me? Oh, I shall go mad, mad ! My brain 
whirls — my senses totter ! What have I done? Frank Hayden dying — 
murdered ! and by the one I love — gone to his last accouut, the victim of 
my caprice, (starts) And Richard! What of him? The gallows I 
(wildly) How can I save him? 1 am the one who ought to hang — Oh ! I 
can see him now, as he shot Frank down at my feet — sent his soul to the 
other world without a moment's Warning. And Frank lay at my feet, and 
I was his murderer ! I fainted, and knew no more until my eyes opened 
here, in my own room, and I was told that Frank was murdered, and 
Richard in prison. They said my life was almost despaired of — the faint 
lasted so long. Would to Heaven that I had died ! nor ever known the 
agony I feel now. Heaven, and the angels, keep aud pity me, for I can 
never forgive myself! (falls on the sofa sobbing 

Enter, Jane softly, goes gently up to Lillian and strokes her hair, 

Jane. Poor child ! Poor child! 

Lil. (starting up) Jane, you back ! What news ? quick ! Oh, you were 
so long, I thought you would never come. What did you learn, tell me 
quick ! 

Jane. Sit still, darling, give me a little time. 

Lil. Yes — yes, onlv tell me — how is Frank ! What have they done with 
Dick? 

Jane. Mr Hayden is still unconscious, though alive. The wound in it- 
self did not amount to much, but the doctors fear for his life on account of 
his continued unconsciousness. 

Lil. Thank God, he is still alive ! What of Mr. Leonard ? 

Jane. He's in prison, where he ought to be. Poor Peter's heart is al- 
most broke, he feels so bad, but I says to him — 

Lil. No, no, it is I who oueht to be in prison ! it i^ I who am the mur- 
derer ! I who shot Frank Hayden, aud I who sent Richard Leonard to 
prison! and they who are both innocent, (siti in chair at table) are ob- 
liged to suffer for my folly. But tell me, did you go to the Leonard's ? did 
you ask Mrs. Leonard if I could see her? 

Jane. Of course I did, you told me to. 

Lil. That is right, Jane, what did she say ? 

Jane. See said, "yes of course." But Miss Laura— 

Lil. Yes — quick, what of her ? 

Jane. She did not want to wait, so she came back with me, in the car- 
riage. She is here now. 

Lil. (springing up) Laura, in this house? send her to me at once. Gol 
{exit Ja?ie l.) His sister here to see me ! and I have driven her brother to 
the gallows. Can it be that she does not know what prompted the fatal 
*ct! Can it be that she is ignorant of the part I played. Shall I tell her ? 
— I will— 



PASSIONS. 15 

Enter, Laura c, hat and parasol, summer shawl thrown over shoulders — 
rushes to Lillian, jnds arms around her. 

Lav.. Oh, Lillie, Lillie! 

Lil. (stepping back) Don't, Laura, don't touch me, don't come near me ! 

Lau. (surprised) Why, Lillie, what do you mean? 

Lil. Don't you know that it was my fault that your brother shot Frank ? 
That it was I who am responsible for the the life so nearly lost, and will 
bring your brother Dick, to the gallows ? 

Lau. Oh, Lillie, I beseech you, tell me what you mean ! I don't know 
anything about it. Father has forbidden either mother or myself to seek 
an interview with Dick, and won't hear the sound of his name in the house. 

Lie. (goes to tabic, leans hand upon it — Laura sits on so/a, l.) Listen, 
Laura ! 1 went to the Park yesterday afternoon, in order to be by myself a 
little while 

Lau. (interrupting) Yes, I know, I found out from Jane, and purposed 
meeting you there. 

Lil. Oh, that you had not! Richard came upon me suddenly, and told 
me that you and the others»were coming, and then, in the most deliberate 
manner asked me to be his wife. I thought he was joking, and it angered 
me, for I loved him truly, and supposed he had discovered it and was mak- 
ing sport of me. I determined to be even — Oh, I am even ! (pause 

Lau. Please go on, Lillie. 

Lil. Dick, for some reason of his own, told Frank to make love to me, 
and he, not liking the idea — I got the whole plan from him. Then I knew 
Eichard loved me, and I determined to repay him for his slights — measure 
for measure. 

Lau. Yes — and then 

Lil. (going toivard Laura) I made Frank promise to pretend love for 
me, even at the expense of Dick's friendship for a day or two, and that he 
would not betray the secret until I gave him permission. He promised re- 
luctantly, but he kept his word. 

Lau. (at Lime's side) And what then? 

Lil. What then ! what then indeed. I told Frank he could kiss me — 1 
saw Dick approaching and did it for his eye3 to see. He did see it and 
thought Frank false to his friendship. He rushed upon us, mad with jeal- 
ous rage and demanded an explanation of Frank. Frank turned to me 
with a^look in his eyes I shall never forget — and I 

Lau. What did you do? 

Lil. I — I threw my arm around Frauk and put my finger to my lips 
He told Dick he had nothing to say, and Dick — he — shot — him. Shot him 
before my eyes. 1 can see them now ! I killed them both ! I killed them 
both ! ( falls fainting in Laura's arms) 

Lau. (calling) Help ! Jane ! She has fainted ! 

Enter Jane quickly L. — they bear Lillian to sofa. 

Lau. Lillie, speak to me ! 

Lil. (recovering) Where am I? Oh, yes, I remember but too well. 

(trying to rise 

Jane. Lie still, dear — do not try to get up. 

Lil. I am better now. You may go Jane — I will ring when I want you. 
(exit Jane, l.) Now Laura, can you still be my friend, knowing that I am 
alone the cause of Richard's misfortune? 

Lau. Poor Dick! If you only had not stopped Frank when he wanted 
to explain. But you did not mean any harm. 

Lil. (sitting up) Thank you, Laura — you are too good to me. 

Enter Policeman of 2d. act, c. — he bows low. 
Lil. Well, sir, what is vour business? 



16 PASSIONS. 

Pol. (r. c.) I am sent with an order for you to appear immediately be- 
fore the Justice, and give your evidence in regard to the affair of yester- 
day. You, it seems were the only witness, and your evidence is needed to 
indict the offender. 

Lau. But she can't go now, she i3 ill. 

Pol. Unless she be confined to her bed, she will have to appear. Justice 
is strict and will admit of no delay. 

Lil. But sir, I cannot go now — it is impossible. 

Pol. Pardon me lady, but I have my orders which I must obey. 

Lau. And they are 

Pol. If the witness refases to come, I am to bring her. I have the 
warrant in my pocket, but will not serve it unless compelled to do so. 

Lil. And must I go? Is there no way of delating ? 

P-)l. None. 

Lil. Very well, I will come immediately. 

Pol. {boioing) I take my leave, ladies. (exit, c. 

Lil. This is very hard, Laura. 

Lau. (silting by the side of Lillian) Cheer up dear, it will not be long, 
and I will go with you. 

Lil. {starting) You? 

Lau. Yes. I want to see Richard, I will go. 

Lil. (going to table k. — aside) What shall I do to save him — nobody saw 
him shoot Frank — can I turn the crime upon myself in any way ? The sin 
is mine, and I should suffer, I will save him, with heaven's help — I have 
it! It was an accident ! (turning) Laura, let us go. (turns and is going, 
Scene closed in by 



SCENE SECOND.— Street in first grooves. 

Enter, Dr. Reade e. 

Dr. Reade. What is this I hear? Frank Hayclen shot by Richard Leon- 
ard. Why I have known them for years, and it cannot be possible. Ah, 
here comes Mr. Lang, he is well acquainted with the Leonards, and from 
him perhaps I may learn the particulars. 

Enter, Lang L. 1 e. 

Lang. Ah, Good morning, doctor. 

Dr R. Good day, sir. Am glad to meet you. What are the particulars 
of this affray of Richard Leonard's? Were not he and Frank the best of 
friends ? 

Lang. To the best of my knowledge, they were. 

Dr R. Where did it occur? You see I only stopped with Frank long 
enough to attend to the case, and have not heard much about it. 

Lang. It happened in the park. We were all playing croquet, but 
Richard, Frank and Miss Trelyawney, when we heard the fatal shot. All 
rushed to the spot, Frank was upon the ground, and Miss Trelyawney in a 
fainting fit by his side, Richard was standing near with the revolver in his 
hand. 

Dr R. What was the cause of this unfortunate affair? 

Lang. Oh, there was a girl mixed up in the matter some way. 

Dr R. Jealousy, perhaps. 

Lang. Yes, I think so. The lady who must know all about it was the 
only one present when the shooting was done. But are you not attending 
Frank professionally? 

Dr R. I am. 

Lang. Is the wound likely to prove fatal ? 

Dr R. It is impossible to tell at the present time, we hope for the best. 
He is at present unconscious, when he recovers his senses I can tell better. 



PASSIONS. 17 

The examination will take place in a short time, then all will be made 
plain. 

Lang. Are you called as a witness ? 

Dr R. I am, and as I have quite a number of calls to make before the 
hour arrives, I must be moving, I must also see Frank again before that 
time, therefore I must bid you good day. {exit h. f Lang r. 



SCENE THIRD.— Justice Office, Justice seated at high desk, with pen behind 
ear. Clerk at small loio desk at R. of Justice. Circular table at h., at which 
two chairs are placed. Three chairs arranged at r. As curtain rises, 

Enter Roger Lang and Sal lie, l., who take chairs r., immediately afler 
Richard Leonard between Policeman of 2d act, and Policeman of the regular 
city force. Richard is hand-cuffed to Police No. #, and enters with head bowed. 
They pass to the l. of Justice. 

Justice, (to Richard) Your full name, prisoner? 
Rich, (not looking up) Richard Henry Leonard, your honor. 
Jus. (to clerk) Takedown everything, (to prisoner) You are here on. 
a grave charge, Richard Leonard. 
Rich. I am, sir, and I am willing to take the consequences. 

Enter, Lillian, followed by Liura l. They start on seeing Richard. 

Jus. (to Lillian) Is this Miss Trelyawney ? 

Lit. It is. 

Jus. Be seated, please, (they sit at table l. — to clerk) Are the witnesses 
all present? 

Clerk. All except the physician attending Mr. Hayden. 

Jus. We can do without him for the present. It is necessary that we 
proceed with the evidence. The crime is a serious one, and has the ap- 
pearance of wilful murder, 

Lau. It is not murder 1 Mr. Hayden is not dead. 

Rich, (looking up) Not dead ! Thank God! 

Jus. He is not expected to live. 

Lil. (kneels at Richard's feet with clasped hands) Oh, Richard, will you 
forgive me? Can yoa forgive me? 

Rich, (ignoring her) Will your Honor proceed with the evidence? 

(Lillian slowly returns to her seat 

Jus. Miss Jordan, will you rise? (she rises) Will you tell us what you 
know of this affair? (to clerk) Take down each word. 

Sallie. Nothing sir. 

Jus. But you were present, were you not ? 

Sallie. We were playing croquet at some distance from the place when. 
the— the— 

Jus. Shooting was done. 

Sallie. I heard two pistol shots, sir, and we all ran toward the sound — 
all I saw was Mr. Hayden and Mis3 Trelyawney lying on the ground, 
apparently dead, and a policeman at my cousin's side. 

Jus. Did you see the prisoner attempt to take his own life ? 

Sallie. No, sir, I was so frightened that I shut my eyes. 

Jus. That will do. (Sallie goes to seat) Mr. Lang, will you tell the 
court what you know about it ? 

Lang, (goes forward smiling) In substance, I saw the same as Miss Jor- 
dan, only a little more. I saw the prisoner attempt to take his own life, 
and that together with what I know happened previously, may prove im- 
portant evidence. 

Jus. You will tell us what you know. 

Lang. I was at Leonard's a few evenings ago, and Hayden was there. 
I overheard angry words between the prisoner and his victim. 



18 PASSIONS. 

Rich. Roger Lang, you lie. 

Jus. Officer, keep the prisoner quiet. "What passed between them, 
Mr. Lang? 

Lang. They were at odds concerning some lady, and I imagined the 
prisoner was jealous of his friend. 

Jus. And what else ? 

Lang. That is all. I did not care to overhear what did not concern me 
and came away. 

Jus. Extraordinary, very ! [Lang returns to seat 

Jtich. Your Honor 

Jus. I am not ready for you, vet. This lady, I believe is the prisoner's 
sister. Have you any thing to tell us, Miss Leonard? 

Lau. {rises, then sinks back into chair)^ Nothing. 

Jus. You are excuted for the present. Now, Miss Trelyawney, we 

come to you. {she rises) You were present at the ime of the shouting, wtri 
you not ? 

Lit. I was. 

Jus. What was the cause of the quarrel ? 

Lil. There was no quarrel. 

Jus. No quarrel ! Then why did the prisoner shoot Frank Hayden ? 

Lil. He did not shoot Frank Hayden. 

Lang springs to his feet, then sits down — Sallie and Laura start violently — 
Michard shudders — Policeman smiles. 

Jus. Not shoot him ? Who did ? 

Lil. I did. 

AIL {except Richard and Policeman) You ! 

Lil. Yes, I. 

Jus. Extraordinary, vory ! 

Lil. Mr. Leonard had a revolver which he wis showing us and I asked 
Vim to let me take it. He said there was one chamber loader], and to pre- 
vent accident fired into the air — then handed the weapon to me. I, 
Supposing it to be empty, pointed it at Frank — Mr. Hayden — and pulled 
ihe trigger. The revolver was discharged and I saw Mr. Hayden fall at 
3qv feet. I fainted, and knew nothing more until I recovered conscious- 
ness in my own room. 

Rich, {starting) Your Honor {Policeman stops him 

Pol. Keep quiet sir, until you are called upon. 

Jus. Extraordinary, very 1 But why did the prisoner attempt his own 
life ? 

Lil. I do not know that he did — no one seems to have seen him but Mr. 
Lang. 

Pol. {aside) I saw it, but I'll keep mum for the present till I see the 
dodge. 

Jus. But why did not the prisoner make known these facts at once? 

Lil. He has probably kept silent to shield me. 

Jus. Extraordiaa?y, very I Do y©5£ know anything about the quarrel 
(between the prisoae? seel Mr. Haydea ? 

Lil. If they had a quarrel— -which I do not believe — it had all passed 
over, for they were the best of friends y&sterday. 

Jus. Extraordinary, very ! Young woman will you take your oath to 
the statements you have made ? 

Lil. I will. 

Jus. Do you know to what you have made yourself liable, by this ex- 
planation? 

Lil. I do not, nor do I care. 

Lang, {jumps up excitedly) Perjury, your honor ! It is false. 

Lil. {to Lang) You are making yourself liable, sir, for slander. 

Lang, {sits aown, aside) Leonard will give it all away without my help. 
Trust pride for that. 



PASSIONS. » 

Jus. Prisoner, what have you to say to this? Is this lady's statement 
correct ? 

Police No. 1. {aside to Richard) Say yes — something is up. 

Rich. It is. {aside) But I cannot let this deception go on — and I must 
tell a lie or convict Lillian of perjury. 

Enter Dr Reade, U 

Dr R. Your honor, I am late, but I bring good news. Mr. Hayden is 
out of danger. 
, Rich. Thank God 1 

Dr R. The ball struck Mr. Hayden in the region of the heart, but com- 
ing in contact with a bone, it glanced and came out of his side, inflicting- 
an ugly but not dangerous flesh wound. His continued unconsciousness, 
occasioned by the shock on his nerves, is what made us fear for his recov- 
ery, but now I am happy to say he is out of danger, and will be able to b» 
around in a few days. {Lillian sits down 

Jus. Does he say anything about the affair ! 

Dr R. He does. He wished me to say to you that it was all an accident,, 
and nothing was intentional, and that he will not appear against any one- 
{to Lillian) He aho wished an interview with you, if you would be kind 
enough to return with me. 

Lang, {to Doctor) He says it was an accident? 

Dr R. He does. 

Lau. Mr. Lang, your evidence has not amounted to much — it must be- 
a great disappointment to you. 

Lang, {aside) Must I lose her as well as my revenge? {to Laura) I 
will go now if you are ready to accompany me. 

Rwh. That she will never be you scoundrel. 

Jus. Extraordinary, very! Officer take off those bracelets. {Officer 
does so — to Richard) Now, sir, you are free. Clerk, we will go. 

{Justice and Clerk exit r., folloioed by Police No. 2., and Lang 

Police, {aside to Lillian) I saw more than I told. 

Lil. You will lose nothing by your silence. {exit Police R. 

Rich, {coming l. ) Fiee once more, but at what a price. Doctor, can I 
go to Frank ? 

Dr R. I do not think it would be best at present. To-morrow, perhaps. 

Sallie. {rising) Dr. Reade, will you see me home ? I'm rather timid in 
the streets alone. 

Dr R. Delighted, I'm sure, if Miss Trelyawney can go to Mr. Hayden's 
alone. {looks at Lillian 

Lil. I cannot go to-day, Doctor. 

Dr Reade bows, offers arm to Sallie, they go L., Sallie stops, Dr. Reade exits. 

Sallie. Laura, may I speak with you a moment? {both exit L. 

Rich, (r.) Lillie, why did you tell that falsehood? 

Lil. Can you ask ? 

Rich. Don't you know that I cannot in honor allow the world to think 
you shot Frank ? No, the truth must be told ! 

Lil. No, no, I beg of you ! The accident was all my fault, I almost 
asked Frank to kiss me when I saw you approaching — I placed your life in 
jeopardy. Won't you let me keep you from prison ? Promise me, you will 
not betray me? 

Rich. I will, Lillian— at least until I have seen Frank. If he still loves 
you, I will keep silent for his sake, for I owe him that at least. Do not 
think I am ungrateful for what you have done for me, — {she sobs) — but you 
must remember, that if I d® keep silent, it condemns me to a life of dishon- 
or and cowardice. I will hate the sight of my self, loathe, detest the very 



50 PASSIONS. 

»ir I breath ! Good bye, Lillian — Frank's love for you, must be in lee 1 a 
deep one, when it makes him forget his friendship for me. Ghod bye, Lil- 
lian, {exit r. 
Itil. (calls) But Dick, Dick! Frank does not love me — He still thinks 
I do not love him ! Why can't I die, why can't — I — lie! {exit u. 1 s. 

CURTAIN. 



ACT IV, 

SCENE FIRST.— Frank Ray ten's apartments, richly furnished in crimen 
or mahogany, pictures etc. Guns and fi-thing-rols suspended from the will. 
Table R. c, on xohich are vipes an I tobacco jars, boiks and papers, chairs on 
table, easy chair at \.. Couch back of stage, chair beside couch. Frank ly- 
ing on couch, in dressing-gown and slippers. 

Frank. Another day passed, another morning come, and I am lying 
iere still. If it was not for this confounded weakness, I think I would be 
as well as ever. I certainly do not feel any pain to speak of — I wonder 
TK-hy the doctor don't come? Poor Dick ! I suppose he feels badly, about 
this affair, but it will teach him a good lesson. 

Enter, Dr. Reade l. it. b. 

Ah, doctor, here at last ! 

Dr R. {taking his hand) Ye3, here at last. How are you feeling to-day? 

Frank. Perfectly well, except the weakness. 

Dr R. {takes chair) I'm glad of that! If you only keep quiet, and 
ee&se this worry about Richard and Lillian, and let things take their own 
ecvnrse for a little while, you will be as well as ever in a week or ten days. 

Frank. But, doctor, Dick is so infernally proud about some things that 
I actually tremble, expecting every moment to hear tint he has gone to 
the authorities and given himself up. I hope you gave him my message, 
asking him to come and see me to-day. Why doctor, I do not cherish the 
least spark of ill-feeling toward him for shooting me. He was always im- 
pulsive, and very quick to anger, but gets over it just as quick. And Lil- 
lie, you say has been quite sick ? 

Dr R. Yes, the excitement the other day at the Justice's office must 
have be n t( o much for her. She went home from the exarninati n a d bad nc 
soo-ner entered the house than she fainted in her maid's arms. 

Frank. Was she better this morning? 

Dr R. Almost well. She thought she would be able to drive over to see 
you to-day, although I advised her not to. 

Frank. Why did you do that ? 

Dr R I thought it would be better if deferred till to-morrow, any excite- 
ment might throw her into a brain fever. 

Frank. How about Lang ? 

Dr H. Oh, he showed his hand so plainly at examination, that al- 
though he has called on Laura several times since, she has refused to see 
itirn. 

Frank, {starting up) Is the engagement then broken ? 

Dr R. Lie still, Frank — I suppose so, at least that is what I would nat- 
urally think. Her father has forbidden him the house, so Richard tells 
me. 

F-ank. (lying back) And Sallif ? 

Dr R. (rubbing his hands) That is exactly what I wanted to get at. Al- 



PASSIONS. 21 

though I am creeping along steadily, and am evsu now what might be 
termed a middle-aged man, still I think I have lived a bachelor 5 ion** 
enough, and Miss Jordan has promised to be the blessing of — of 

Frank. Of your declining years. 

Dr R. [with dignity) Of my advancing years, please. 

Frank, {laughing) Exactly! They are advancing, that's a fact. You 
are old enough to be her father. 

Dr R. And therefore, not to young to be her husband. 

Frank. She is a good girl — 

Dr R. I think so! 

Frank, {earnestly) Doctor, I have loved Laura for a long time, but 
I had given up all hopc9 of winning her, especially when Lang came upon 
the scene. Do you think she cares any thing for me? 

Dr R. Well, I never thought she loved Lang, "almost to death." At 
any rate I think there is room in her heart for another love. 

Frank. Do you think there is any chance for me? 

Dr R. If I should judge by her anxiety concerning your recovery, I 
should say there was a very good chance. I only wish I stood as good a 
chance of becoming a millionaire, as you of winning Laura's love. 

Frank. Thank you, doctor, I ieel more like getting well now than ever. 

Dr R. Bah, you must get well any way. No man would die for a wo- 
man's love! I confess it might change him greatly. For example: if Sal- 
lie had rejected me, I think I should have become the crabbedest, crustiest, 
crossest old doctor imaginable, particularly when my patient happened to 
be a female. But then, you must not talk any more just at present, you 
ought to save your strength until Kichard comes. {noise viithout L. 

Frank. Some one is coming up the stairs, it may be him now. 

Dr R. {coming c.) Perhaps it is. 

Enter, Richard h. u. e., stops a moment, then goes and kneels by the couch. 

Rich. Frank, can you forgive me? 

Frank. Dick, had I known you were going to fire that shot, I would 
have forgiven the deed, ere the ball had struck me. 

Rich, {rising) If I could only forgive myself! 

Frank. Nonsense, Dick ! Your temper got the better of your judgment, 
that is all. Let us forget all about it. 

Dr R. (at couch) I will leave you now for a short time. (going 

Frank. Doctor, if any one should call, will you show them to my room, 
please? 

Dr R. With pleasure. {exit l. u. e. 

Frank. Dick ! 

Rich. What is it, Frank? 

Frank. Have you seen Lillie? 

Rich. I have, and that is the part that is so hard to bear. I cannot al- 
low the world to think it was her who fired the shot, when it was myself. 
What a coward I appear in my own eyes, and how selfish I must seem to 
her. 

Frank. It is only temporary, as soon as you have married Lillian, and — 

Rich, {starting) As soon as I have what? 

Frank. Married Lillie. What is the matter ? 

Rich. Look here, Frank, I can stand a good deal, but please don't joke 
on that subject. It's too much I 

Frank. I'm not joking, hadn't thought of such a thing. She loves you, 
and you love her, so I don't see what stands in the way of your marriage. 

Rich. But — but I thought you were going to marry her! 

Frank. Me? No, no! I am going to win Laura, if I can — if she will 
have me. 

Rich. What do you mean, Frank ? For heaven's sake, tell me at once 1 



22 PASSIONS. 

Frank rises and goes slowly to easy chair l., Richard comet down R. 

Frank. Why, simply this. You told me to make desperate love to Lil* 
- lie. I did so, but found out that 6he loved you. I then made a cleaa 
breast of the whole affair, thinking it would have a good effect. 

Rich, (anxiously) Goon — go on I What then ? 

Frank. L Hie was naturally piqued to think that you should take such 
a mean way — she called it — to* win her love, and in order to get even with 
you, she made me promise not to give certain things away 'till she said so. 

Rich. Yes — yes — what else? 

Frank. When you asked me if I had any thing to say just before the ac- 
cident, we were both acting a part, in order to pay you back in your own 
coin. That is all, Lillie loves you, and you love her. Marry her, and 
keep quiet. 

Rich, (coming down r. — aside) Then T have made a fool of myself. Why 
could I not have trusted Frank — a friend who has always been to me as 
true as steel — but I must needs lose my temper, and almost murder the 
dearest friend I ever had. Can I ever forgive myself? He says Lillian 
loves me, I wonder if she does, and if she does, will she continue to do so 
after this last cowardly act. But I did not mean it to be cowardly, it was 
only her own pleading eyes, and the advice of the policeman that led me 
to keep silence. 

Enter Dr. Reade l. v. e., goes and whispers to Frank, who nods, exit Dr. 
Reade l. u. e. 

Rich, (continuing) What a thing is love, and what an enemy to love is 
jealousy ! It sprouts up by the very roots of love, and into the first crevice 
it finds in the hark of the purer tree, it sticks its talons. And, oh, how of- 
ten that very crevice exist but in the imagination of him who loves. 

Enter, Doctor Reade followed by Laura, l. u. e. 

Frank, (aside) I thought it would be Lillie first, but I am content. 
(aloud) Well, Laura, you see I am getting along bravely. (Laura sits at 
table l.) I intend to be playing croquet in the park again, soon. 

(Dr. Reade and Richard go near couch and talk aside. 

Lau. (shuddering) Don't speak of that horrid day, Frank, I can't bear 
to hear it mentioned. 

Dr R. It was rather a fortunate occurrence for me. 

Rich. What! 
| Frank. How so ? 

Dr R. Rather fortunate for me, I said. You see I have secured two 
ja'ients, and a wife, by the affair. 

Lau. (surprised) A wife ? 

Dr R. (laughing) Why, yes — 

Frank, -(laughing) The whole amount of it is, Sallie took pity upon his 
old age and is going to marry him, but it's only from pity, she does not 
love him a bit. 

Enter, Sallie l. v. e., runs to the Doctor and pats him on the shoulder. Rich- 
ard comes down R. 

Sallie. Don't I though I I just do love him, don't I, Charles dear? Of 
tourse I does ! (the Doctor nods, rub*, his hands and smiles) You see, Laura, 
I was going by and I saw you come in, and being almost certain I would 
find Charles here, I thought I would follow you. 
j Frank. Tou did not care about me, then ? 

' Sallie. Oh, yes I do. Charles might not be called so successful, if you 
did not get well. 

Frank. Uin ! 



PASSIONS. 23 

SaUie. I couldn't have him suffer, you know. He's-^'ust the sweetest, 
larlingest, dearest young fellow that ever lived ! ain't you, Charles ? 

Dr R. (smiling) Not as young as I might be, Sallie. 

Sallie. Why, how in the world could you be any younger ? dye your 
vhiskers? (stroking them fondly) Don't you do it, Charles, I would not 
lake a day off your age, for the world, 

Sallie and the Doctor sit on the coach conversing, Laura is busy lookinn at 
the tobacco jars, Richard at r., is leaning carelessly against chair at table. 

Frank. There is only two things needed to make me supremely happy . 
to-day — put me fairly into Eldorado! 

Rich, (crossing to Frank) Is it anything I can do, Frank? God knows 
I am miserable enough myself. 

Frank. You are just the one that can bring about both categories, old 
fellow. 

Rich. Then for heaven's sake, name them ! 

Frank. I will. Please tell Laura, to come here. 

Rich. Laura, will you step here a moment ? 

(Laura goes to Frank's side, opposite Richard, 

Frank. Laura, you heard me when I said there was only two things I 
needed to make me happy, did you not? 

Lau- Yes, what are they ? 

Frank. One, is your love. Don't start, for I do love you, and have for a 
long time, but feared to speak of it. I am sick you know, and can't get on 
my knees to you, as is the prescribed rule of love-making, but my affec- 
tion is just as deep, and I think will prove as lasting, (to Richard) Dick 
get down on your knees for me, and I will do the pleading. 

Lau. (laughing) No, thank you, I do not need that performance, to win 
my consent. 

Frank, (joyfully) You do consent, then ? (Richard starts away) Hold 
on. Dick ! I am not dona with you yet. 

Lau. I did not say so. (Richard returns 

Frank. But you will,, won't you ? 

Rich. Of course she will. 

Lau. (teasing I y) Well! that is cool. I shall have to think about it. 

(starts away 

Frank. Laura, come back ! You have not heard the other category, 
yet. (Laura returns) It is this. I have got my mind set upon Lillie as 
belonging to Dick, or vice versa, and he seems a little backward about com- 
ing forward, (bell rings 

Rich. But Frank 

Frank. Oh, there are no buts. (to the Doctor) Doctor, I thought I h$ar£ 
the bell, will you see who it is, and show them up, please. 

Dr R. Certainly. (g£& fc 3„ s. 

Frank. Prepare yourself, Dick, it must be Lillie. 

Enter, Dr. Reade, who holds the door aje.p 9 «md &ees&, 
Dr R. Walk right in please, you will find them all here. 
Enter, Peter L. u. R. 

Omnes. Peter I 

Peter. Ye3, it's only Peter. My master sent me to inquire after Mr. 
Hayden's healih. 

Dr R. Tell Mr. Leonard, that he is progressing finely, and will be 
about, soon. 

Peter. Yes sir. (bows and is going 

Frank, (calls) Peter! 

Peter, (stops) Ye3 sir ? 



24 PASSIONS. 

Frank. I hear you are spoons, on Miss Trelyawney's maid. 

Peter, {mystified) I'm wh — what, sir ? 

Frank. Spoons ! In love. 

Peter, (relieved) Oh! — I'm an old man to fall into love. 

Dr R. How old are you, Peter? 

Saliie. That is mean, Charles dear, I never asked you your age. 

Dr R. I'm not in love with Peter. 

Saliie. Oh 1 

Rich. You may go, Peter. 

Peter. Yes, sir. (exit L. u. e. 

Frank. Why don't Lillie come. 

Dr R. She is down in the parlor, awaiting your pleasure. 

Fiank. Then bring her up, please, as quick as she can come. 

Dr R. Saliie, won't you go with me to get her? 

Saliie. (going to him) I see what you are at. Yes, I'll go. (they exit l. 

Frank. Now, Dick, brace up and when Lillie comes in, faint away righl 
into her arms. 

Rich, (crosses stage) I'm not a woman ! 

Dau. Indeed! (aside to Frank) Are you able to walk? 

Frank. Of course I am ! 

Lau. Let us leave the room for a few moments, they can make it up bet- 
ter alone. {they exit l. 

Rich, (at table l.) They have all left the room — so be it. If Lillie can 
love me now, I think I can he happy. But can she — will she? Yes, I feel 
that she can, and will ! how blind I have been, ay, how very blind, 
But I have learned a lesson, and with God's help I will profit by it. 

(sits in easy chair l., back to entrance 

Enter, Lillian, who comes half way to c. 

Lit. "Why, no one here ? (sees chair) Ah! there is some one in that 
chair, it must be Frank, asleep, (goes to chair and leans over — starts back) 
You ! here! 

Rich, (rising) Yes, I am here. 

Lil. I — I — thought it was Frank. 

Rich. Are you disappointed ? Lillie, this has been a misunderstanding 
all through. You know I love you ! Will you be my wife? 

Lil. (goes to him) Oh, Richard, I knew all would come out right, but 
how I have suffered for my foolishness. 

Rich. But you are happy now, dearest? 

Lil, Oh, so happy J 

Enter, Frank and Laura, Dr. Reade and Saliie. from L. 

Frank. Look there, Laura! Nice, isn't it? 
Lau. Do you think so ? 

Dr R. We think so, don't we, Saliie? (Saliie nods her head 

Lil. And you will forgive me now, Richard, for saying I shot Frank? 
will you let it rest as it is? 
Rich. Anything for your sake, Lillie. Anything! 
Frank. And everythiug ! 
Rich. Then our troubles are ended — we all are happy* 



CURTAIN, 




AMES' SERIES OF 
Standard and Minor Drama. 



«> 



PRICE FIFTEEN CENTS EACH. 



i) 



SENT POST-PAID TO ANY ONE ON RECEIPT OF PRICE, 










n 



1. MR. AND 3IRS. PRINGLE. A comic interlude in o,w act, by Don T. 
De Treuba Cosio, seven male, four female characters. Costumes modern, te 
suit. A very funny afterpeice. A light plot hinging upon the fact that Mr. 
Pringle, who has a perfect horror of children, marries, as he supposes, a widow 
of fifty, without any. Everything glides along smoothly, until the children to 
the number of about a dozen make their appearance, one by one. Mr. Pringle 
is aghast, and the situations very funny. Scene a drawing room. Time of rep- 
resentation about forty-five minutes. 

2. A DESPERATE GAME. A comic Drama in one act, by John Madison 
Morton, three male and two female characters. The scenery is simple in-door 
sets. The part of David is first low comedy. Postlewaite and Patcliffe will be 
found excellent characters and ones that will suit, and the lady characters are 
tirst-class. The play is very funny, and since its publication has been perform- 
ed all over the country with the greatest success. Time of representation forty- 
five minutes. Every amatuer company should order this play at once. It is 
sure to suit. 

3. THE LADY OF LYONS. OR LOVE AND PRIDE. A Play in five 

acts, bv Bulwer. Hardly anything need be said regarding this beautiful play, 
as scarcely any one can be found who has not read it, or seen it performed. It 
has twelve male and five female characters. It abounds in eloquent declama- 
tion, and is one of the most powerful dramas in the English language. Time of 
performance about three hours. The present edition is very complete, and is 
in use in the principal theatres. 

4. TWAINS DODGING. An Ethiopean farce in one act, by A. Newton 
Field, three male and one female character. Scene, a chamber — no trouble to 
arrange. Costumes "nigger." Companies who order this farce will find it one 
of the best. Time of representation twenty minutes. 



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ri 



AU1E8' STArVUARD AUTO MOOR OK All A. 



5. WHEN WOMEN WEEP. A Comedietta ij one act, by J. Newton Gott- 
hold, three male, two female characters. It is an old saying that if women will 
cry, their husbands, or lovers will grant any favor they may ask. This Com- 
edietta shows how this is done. Costumes modern. Scene a parlor at Baden- 
Baden. Time of performance thirty minutes. 

6. THE STUDIO. An Ethiopean farce in one act, for three male char- 
acters. Very funny. Some very amusing experiences in an Artist's studio are 
given. Just the farce far amatuer minstrel performances. Easily produced. 
Costumes to suit the characters. Time twenty minutes. 

7. THE VOW OF THE ORNANI. A Drama in three acts, by J. Newton 
Gotthold, seven male, one female character. Costumes Corsican, can easily be 
arranged by Amatuers. Scenery a little difficult to arrange. Capital parts for 
leading man, two old men, and leading lady. Will be found a good drama in 
every respect. Time of performance, one hour. 

8. THE BETTER HALF. A Comedietta in one act, by Thos. J. Williams, 
five male, two female characters. Time present day. Costumes modern. The 
character of "Julia" in this piece, is always a favorite one with actresses. It is 
always very successful, and liked by amatuers. We have also represented, a 
capital part for a fop, a pouty old fellow with tha Somersetshire dialect. A 
husband who is not half as much of a man as his wife, etc. A tip top play, 
Time of performance fifty minutes. 

9. LADY A UDLEY'S SECRET. A Drama in two acts, by Wm. E. Suter, 
six male, four female characters. In addition to being a favorite stock play 
with the profession, this drama always is in good demand from amatuers. The 
character, of Lady Audley, is one of the best for leading lady. It has leading 
men, old men, and two first class comedy parts. All who have read the cele- 
brated novel by the same name, will want the drama. Time of performance, 
one hour and forty-five minutes. 

10. STOCKS UP AND STOCKS DOWN. A Duologue in one act, two male 
characters. Costumes exagerated evening and dilapidated. Scene a street. 
Extremely ridiculous. Time of performance, ten minutes, and the ten min- 
utes full of hearty laughter. 

11. JOHN SMITH. A Farce in one act, by W. Hancock, five male and 
three female characters. This farce must not be confounded with "John 
Schmidt" as there is no similarity, this one being much more laughable. The 
character of "Old John Smith" is immensely funny, and will keep an audience 
in roars of laughter whenever he appears. A favorite farce, and every character 
good. Costumes simple. Scenery plaip rooms — and easily arranged. Time of 
performance, thirty-five minutes. 

12. A CAPITAL MATCH. A comic Drama, in one act, three male, two 
female characters. This is one of John Madison Morton's best pieces, is very 
neat, and easily produced. The scenery is simple. Can be played in a parlor, 
and without any scenery if necessary. Time of performance thirty-live min- 
utes. Parties ordering "A Capital Match" will be well pleased with it. 

13. GIVE ME MY WIFE. A Farce in one act, by Wm. E. Suter, three 
male, three female characters. Easily produced, and costumes modern. A 
dreadful misunderstanding in this farce, which the name will imply. A fellow 
loses his wife and suspects another fellow has her. The accidents he meets 
with, in his search for her, are very amusing. Order a copy and you will like 
it. Time of performance, thirty minutes. 

14. THE BRIGANDS OF CALABRIA. A Melo-Drama, in one act, by 
Wm. E. Suter, six male, one female character. This is a capital play of the 
blood-and-thunder description, aud abounds with sword combat's, pistols, etc. 
etc. It also has a good comedy man, who always is very funny, and very hun- 
gry. This has always been a great favorite, with all companies who have play- 
ed it. Tims of performance about one hour. 

15. AN UNHAPPY PAIR. An Ethiopian Sketch for two characters. This 
Sketch is easily produced. Scenery simple, and is a favorite little sketch with 
all who play it. Costumes exagerated. This is "Nigger all over" and ought to 
be in the hands of every minstrel company. Time of performance, ten min- 
utes. 



O 



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o 



AMES' ST ABOARD ANI> 9IINOI& DRAMA, 



16. THE SERF. A Tragedy, in five acts, by R. Talbot Esq.. 6 males, 3 fe- 
male characters. Good parts for 1st and 2nd Tragedian, and Tragic lady. The 
character of 0.ssip is very powerfully drawn. The history of his early love — of 
his marriage — the indignities he is made to suffer, and the death of his wife, is 
highly wrought ; and his sarcastic levity and deep revenge are unfolded with a 
terrible earnestness. Scene, apartments in castle. Time about 2 hours and a half. 

17. HINTS ON ELOCUTION AND HOW TO BECOME AN ACTOR. This 
valuable work has just been published, and contains valuable instructions that 
amateur actors, and every one that ever expect to make a favorable appearance 
in public, cannot do without it. It teaches you how to become a good and ef- 
ficient reader, reciter, debater, a good actor, how to hold an audience silent, and 
treats on every subject that is necessary to be acquired in order to become a 
good and pleasing actor. 

18. THE POACHER'S DOOM. A Drama in 3 acts, curtailed and arranged 
by A. D. Ames, 8 male, and 3 female characters, A thrilling drama, ^always a 
favorite. Leading man, villian, two comedies, old man, leading lady", comedy 
lady, etc. Costumes modern. The situations in this play, are most excellent. 
Time of performance, 1 hour and a half. 

19. DID I DREAM IT? A Farce in one act by J. P. Wooler. 4 male, 3 fe- 
male characters. Scene, drawing room. The question "Did I Dream it" is what 
the farce is founded upon. Very strange things happen, and a nice little love 
scrape helps to color the plot. A good piece. Costumes simple. Time of per- 
formance 45 minutes. 

20. A TICKET OF LEA VE. A Farce in one act, by Watts Phillips, 3 male, 
2 female characters. A play written by this author is sufficient guarantee of 
its excellence. Scene, a sitting room, plain furniture. Costumes modern. Time 
of performance, 35 minutes. This is an excellent farce. 

21. A ROMANTIC ATTACHMENT. A Comedietta in one act, by Arthur 
Wood, 3 male, 3 female characters. A most excellent little play, well adapted 
for school exhibitions, lodges, amatuers, etc. The scenery is simple, being a 
plain room, is always a favorite with every company which plays it. Time of 
performance, 35 minutes. 

22. CAPTAIN SMITH. A Farce in one act, by E. Berrie, 3 male, 3 female , 
characters. Thrs excellent little farce is equally well adapted for school exhi- 
bitions, etc., as No. 21. The dialogue is sparkling, not a dull speech from be- 
ginning to end. The plot simple, the piece easily performed. Scene, a plain 
room. Costumes modern. Time of performance, 30 minutes. 

23. MY HEARTS IN THE HIGHLANDS. A Farce in one act, by Wil- 
liam Brough and Andrew Halliday, 4 male, 3 female characters. Scene, exte- 
rior of house in the Highlands. Costumes, simple Highland. This farce is eas- 
ily produced and very effective is full of fun, caused by the mishaps of two char- 
acters, who go from the city to the country, and do not know a pig from a roe- 
buck, nor a turkey from an ostrich. Time of performance, 25 minutes. 

24. HANDY ANDY. An Ethiopean Farce in one act, 2 male characters. 
Scene, a kitchen. Costumes, exagerated and comic. The difficulties in procu- 
ring -a good and suitable servant are most ludicrously set forth in this farce. 
Time of performance, 20 minutes. 

25. SPORT WITH A SPORTSMAN. An Ethiopean Farce, in one act, 2 
male characters. Costumes, exagerated sportsman's dress, and boyish dress. 
Scene, a wood. Time of representation, 20 minutes. A tip top negro farce. 

26. THE HUNTER OF THE ALPS. A Drama in one act, by William 
Dimoud, 9 male, 4 female characters. Scene in-door and forest. Costumes, 
Swiss. Rosalvi, the hunter of the Alps leaves his home to procure provisions to 
keep his wife and children from starving, meets Felix, a lord, and demands, 
and finally implores of him money. Felix moved with compassion gives him 
money, and goes with him to his hut, and there discovers they are brothers. 
There is some fine comedy in it. The story is beautifully told. Time of per- 
formance 1 hour. 

27. FETTER LANE TO GRAVESEND. An Ethiopean Farce in one act, 
2 male characters. Scene, plain room. Costume, exagerated and comic. Tke 
two characters, Ike and Hystericks are very funny, and will keep an audience 
in roars of laughter. Short, easily produced, and a tip top farce. Time of per- 
formance 15 minutes. 



& 



AMES' STANDARD AND MINOR DRAMA. 



28. TII1R1Y-THREE NEXT BIRTHDAY. A Farce in one act, by John 
Madison Morton, 4 male, 2 female characters. Scene, outside of hotel, easily 
arranged. Costumes to suit the characters. This farce should he read to he 
appreciated, and is a good one as are ail of Madison Morton's playa. The com- 
edy characters are excellent. Time of performance, 35 minutes. 

29. THE PAIATER 01 GHENT. A Play in one act, by Douglass Jerreld, 
5 male, 2 female characters. Scene in Ghent. Costumes of the country and 
period. This is a beautiful play of the tragic order. The character of the "Paint- 
er of Ghent," is one of grandeur and fine language. He becomes insane at the 
loss of children, and being a painter, paints their portraits from memory. A 
daughter whom he supposes dead, returns to him, and he recovers. A grand 
pley. Time of performance, 1 hour. 

30. A DAY WELL SPENT. A Farce in one act, by John Oxeuford, 7 male, 

5 female characters. Scenery simple. Costumes, modern. Two clerks in the 
absence of their "boss" conclude to shut up shop, and have a spree. They get 
into several scrapes with the females, have numerous hair breadth escapes," and 
have a terrible time generally. Very amusing. Time of performance, 40 
minutes. 

31. A PET OF THE PUBLIC. A Faice in one act, by Edward Sterling, 

4 male, 2 female characters. Scene, parlor. Costumes, modern. In this farce, 
the lady assumes four distinct characters, either of which is good. For an act- 
ress of versatility, it is a splendid piece, and amatuers can also produce it with- 
out troubt It can either be used for t> principal piece, or an afterpiece. Time 
of perform ice, 50 minutes. 

32. Ml VIFE'S RELATIONS. A. Comedietta, in one act, by Walter Gor- 
don, 4 mal 4 female characters. Scene, plain apartments. Costumes, modern. 
A pleasing little piece well suited to amatuers, school exhibitions, etc. A fel- 
low marries, her relatives ceines to see her, are much more numerous than he has 
an idea of. The denoumentis funny. Time of performance, 45 minutes. 

33. ON THE SLY. A Farce in one act, by John Madison Morion, 3 male, 
2 female characters. Scene, plain apartment. Costumes, modern. Husbands, 
don't never fall in love with your wive's dress makers — never squander your 
money foolishly, never do anything "on the slv," for your wives will be sure to 
find it out. This farce explains it all. Time of performance 45 minutes. 

34. THE MISTLETOE BOUGH. A Melo Drama in two acts, by Charles 
Somerset, 7 male, 3 female characters. Scene, castle, chamber and wood. Cos- 
tumes, doublets, trunks, etc. A most excellent Melo-Drarna. Plenty of blood 
and thunder, with enough jolly, rollicking fun to nicely balance, it. A great 
favorite with amatuers. Time of performance 1 hour and 30 minutes. 

35. HOW STOUT YOU'RE GETTING. A Farce in one act, by John Mad- 
ison Morton, 5 male, 2 female characters. Costumes, modern. Scene, a plain 
room. This is another of Morton's excellent farces. The comedy characters in 
it are nicely drawn, and it always is a favorite. Easily produced. Time of 
performance, 35 minutes. 

36. THE MILLER OF DERWENT WATER. A Drama in three acts, by 
Edward Fitzball, 5 male, 2 female characters. Costumes, modern. Scenery, 
easily arranged. This is a touching little domestic drama, abounding in fine 
speeches, and appeals to the better feelings of one's nature. The "Miller" is an 
excellent old man. Two comedy characters keep the audience in good humor. 
Time of performance, I hour and 30 minutes. 

37. N0 1 SO BAD AFTER ALL. A Comedy, in 3 acts, by Wybert Reeve 

6 male, 5 female characters. Costumes, modern. Scenery, simple and easily ar- 
ranged. Every character in this comedy is in itself a leading character, and 
every one very funny. Probably there is not a play in the language in which 
every character is so funny as this. Time of performance, 1 hour 40 minutes. 

38. THE BEWITCHED CLOSET. A Sketch in one act, by Hattie Lena 
Larnbla, 5 male, 2 female characters. Scene, Parson Grime's kitchen. Costumes 
modern. A lover goes to see his sweetheart, hides in a closet. Old man ap- 
pears on the scene, thinks the closet bewitched. They upset it. Old man is 
frightened— runs away. Everything right etc. Time of performance, 15 minutes. 

39. A LIFE'S REVENGE. A Drama in 3 acts, by Win. E. Suter, 7 males, 

5 female characters. Costumes, French, period 1661. Scenery, palace, gardens, 
prison. Can be arranged by amatuers but is a heavy piece. A fine leading man, 

^ heavy man, a glorious comedy, etc. Also leading lady, juvenile lady, comedy 
lady," etc. This drama was a favorite with Harold Forsberg. Time of perform- 
ance, 2 hours and 15 minutes. 



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AMES' STANDARD AND MINOR DRAMA. 



40. THAT MYSTERIOUS BUNDLE. A Farce in one act, by Hattie Lena 
Lambla. 2 male, 2 female characters. Costumes, modern. Scenery, a plain 
room. A Variety peice, yet can be performed by Amatuers, etc. A Mysterious 

bundle figures in this farce, which contains a . Time of performance, 20 

minutes. 

41. WON AT LAST. A Comedy Drama in 3 acts, by Wybert Keeve, 7 male, 
3 female characters. Costumes modern. Scenery, drawing-room, street and 
office. Every character is good. Jennie Hight starred on the character of "Con- 
stance" in this play. Amatuers can produce it. Time of performance, 1 hour 
45 minutes. 

42. DOMESTIC FELICITY. A Farce in one act, by Hattie Lena Lambla, 1 
male, 1 female character. Costumes modern. Scene, a dining room. The name 
fully describes the piece. Very funny. Time of performance, fifteen minutes. 

43. ARRAH DE BA UGH. A Drama in 5 acts, by F. C. Kinnaman, 7 male, 
5 female characters. Costumes modern. Scenes, exteriors and interiors. A 
most exquisite love story in a play, abounding in scenes of great beauty. The 
depth of woman's love is beautifully shown. Time of performance about two 
hours. 

44. OBEDIENCE, OR TOO MINDFUL BY FAR. A Comedietta in one 
act, by Hattie Lena Lambla, 1 male, 2 female characters. Costumes modern. 
Scenes, plain room and bed room. An old fellow who thinks he is very sick, be- 
comes vely peevish and particular. A plot is formed to break him of his foolish- 
ness. Very amusing. Time of performance twenty minutes. 

45. ROCK ALLEN THE ORPHAN, OR LOST AND FOUND. A Comedy 
Drama in one act, by W. Henri Wilkins, 5 male, 3 female characters. Costumes 
modern. Scenes interiors. Time, during the Rebellion. This play represents 
the real "deown east" characters to perfection. An old man and woman are al- 
ways quarreling, and their difficulties are very amusing. Time of performance, 
one hour and twenty minutes. 

46. MAN AND WIFE. A Drama in five acts, by H. A. Webber, 12 male, 7 
female characters. Costumes modern. Scenery exteriors and interiors. This 
drama is one of intense interest and is a faithful dramatization of Wilkie Collins' 
story of the same name. This is said by competant critics to be the best dram- 
atization published, and it should be in the hands of every dramatic company 
in the country. It has become a great favorite. 

47. IN THE WRONG BOX. An Ethiopean Farce in one act, by M. A. D. 
CHfton, 3 male characters. Costumes, peddler's and darkey's dilapidated dress. 
Scene, a wood. Characters repiesented, a darkey, an Irishman and a Yankee. 
Time of performance twenty minutes. 

48. SCHNAPPS. A Dutch Farce in one act, M. A. D. Clifton, 1 male, 1 fe- 
male character. Costumes, burlesque German. Scene, a plain room. A neat 
little piece for two Dutch players, introducing songs and dances. Time of per- 
formance, 15 to 30 minutes, at the pleasure of the performers. 

49. DER TWO SUBPRISES. A Dutch Farce in one act, by M. A. D. Clifton, 

I male, 1 female character. Costumes, peasant's, and old man's and old woman's 
dress. Scene, a kitchen. A very neat little sketch, introducing songs and 
dances. Time of performance, about twenty minutes. 

50. HAMLET. A Tragedy in five acts, by Shakespeare, 15 male, 3 female 
characters. Probably no other play by the immortal Shakespeare is produced 
as frequently as this one. It needs no description. Time of performance about 
two hours and thirty minutes. 

51. RESCUED. A Temperance Drama in two acts, by Clayton H. Gilbert, 5 
male, 3 female characters. This play visibly depicts the dangerous consequen- 
ces of falling into bad company, the follies of the intoxicating bowl, and shows 
that even the pure love of a noble girl will be sacrificed to the accursed appetite. 
The solemn scenes are balanced by the funny portions, and all in all the play 
is a grand success. Costumes modern. Scenes, interiors some neatly and some 
handsomely furnished. Time of performance one hour. 

52. HENRY GRANDEN. A Drama in three acts, by Frank Lester Bingham, 

II male, 8 female characters. This drama is sensational in a high degree, 
abounding in thrilling scenes among the Indians, hair breadth escapes, etc. It 
should be purchased by erery dramatic company that wish something to suit the 
public. Costumes not hard to arrange. Time of performance two hours. 



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AMES' STANDARD AND MBNOR DRAMA. 



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53. OUT IN THE STREETS. A Temperance Drama in three acts, by S. N. 
Cook, 6 male, 4 female characters. Wherever this drama has been produced it 
has been received with the greatest enthusiasm. Listeners have been melted to 
tears at the troubles of Mrs. Bradford, and in the next scene been convulsed 
with laughter at the drolleries of North Carolina Pete. Costumes modern. 
Scenes, interiors. Time of performance, about one hour. 

54. THE TWO T. J's. A Farce in one act, by Martin Beecher, 4 male, 2 fe- 
male characters. Costumes of the day ; scene an ordinary room. This is a cap- 
ital farce and has two male characters excellent for light and low comedians. 
Good parts also for old and young lady. Time of performance thirty minutes. 

55. SOMEBODTS NOBODY. A Farce in one act and one scene, by C. A. 
Maltuy, 3 male, 2 female characters. Scene, interior. Easily arranged in any 
parlor or hall, as it can be produced without scenery. Costumes modern with 
the exception of Dick Mizzle's which is hostler's and afterwards extravagant 
fashionable. This most laughable, farce was first produced at the Drury Lane 
Theater, London, where it had a" run of one hundred and fifty consecutive 
nights. It is all comic, and has excellont parts for old man, walking gent, low 
comedy, walking lady and chambermaid. Time of performance, 30 minutes. 

56. WOOING UNDER DIFFICULTIES. A Farce in one act and one scene, 
by John T. Douglass, 4 male, 3 female characters. Scene, handsomely furnished 
apartment. Costumes of the day. Probably no poor fellow ever wooed under 
more distressing difficulties than the one in this farce. It all comes about 
through a serious misunderstanding. A crusty old man, and a quarrelsome and 
very important servant go to make the farce" extremely funny. Time of per- 
formance thirty minutes. 

57. PADDY MILES' BOY. An Irish Farce in one act, by James Pilgrim, 5 
male, 2 female characters. Scenes, exteriors and interiors. Costumes eccentric, 
and Irish for Paddy. Probably there is not an Irish farce published so often 
presented as this one, but it is always a favorite and is always received with 
great applause. Time of performance 35 minutes. 

58. WRECKED. A Temperance play in two acts, by A. D. Ames, 9 male, 3 fe- 
male characters. Scenes, drawing room, saloon, street and j ail. Costumes mod- 
ern. The lessons learned in this drama are most excellent. The language is 
pure, containing nothing to offend the most refined ear. From the comfortable 
home and pleasant fireside, it follows the downward course of the drunkard to 
the end. All this is followed by counterfeiting, the death of the faithful wife 
caused by a blow from the hand of a drunken husband, and finally the death of 
the drunkard in the madhouse. Time of performance about one hour. 

59. SA VED. A Temperance Sketch in two acts, by Edwin Tardy, 2 male, 3 
female characters. Scenes, street and plain room. Nicely adapted to amatuers, 
Time of performance twenty minutes. 

60. DRIVEN TO THE WALL, OR TRUE TO THE LAST. A Play in four 
acts, by A. D. Ames. 10 male and 3 female characters. For beauty of dialogue, 
startling situations, depths of feeling there is none on the American Stage supe- 
rior to this one. The plot is an exceedingly deep one, and the interest begins 

>ith the first speech, and does not for a moment cease until the curtain falls on 
the last scene of the last act. The cast is small and the costumes easily arranged. 
It can be played on any stage. It has parts for Leading Emotional Lady, Juve- 
nile Lady, Leading Man, Villain, Character Old Man. First Old Man, Comedy, etc. 

61. NOT AS DEAF AS HE SEEMS. An Ethiopean Farce in one act. 2 
male characters. Scene, a plain room. Costumes exagerated and comic. Ex- 
tremely ridiculous and funny. Time of performance 15 minutes. 

62. TEN NIGHTS IN A BAR-ROOM. A Temperance Play in five acts, by 
Wm. W. Pratt, from T. S. Arther's novel of the same name— 7 male, 3 female 
characters. This edition is rewritten, containing many new points, and is the 
best ever presented to the public. Nothing need be said in its praise, as it is too 
well known. It is often played, and always successfully. Time of performance 
about two hours. 

63. THREE GLASSES A DA Y, Or, The Broken Home. A gTand Moral and 
Temperance Drama, in two acts, by W. Henri Wilkins, 4 male, 2 female charact- 
ers. Costumes modern. Scenes, interiors. First-class characters for Leading 
Man, Villain, a genuine down-east Yankee, which is also very funny ; also Lead- 
ing Lady, and a tip-top Comedy Lady. If a company wishes something with an 
excellent moral, at the same time running over with genuine humor, buy this. 
Time of performance about one hour and thirty minutes. 



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64. THAT BOY SAM. An Ethiopean Farce in one act, by F. L. Cutler. 8 
male, 1 female character. Scene, a plain room and common furniture. Cos- 
tumes, comic, to suit the characters. Very funny, and eftectuaUy gives the 
troubles of a "colored pal" in trying to have a beau, and the pranks of "that boy 
Sam." Time of performance twenty minutes. 

65. AN UNWELCOME RETLRN. A Comic Interlude, in "one act, by Geo. 
A. Munson. 3 male, 1 female character. Scene, a dining room. Costumes, 
modern. Companies will find this a very amusing piece, two negroes being very 
funny — enough so to keep an audience in the best of humor. Time of perform- 
ance, twenty minutes. 

66. HANS, THE HUTCH J. P. A Dutch Farce in one act, by F. L. Cutler, 
3 male, 1 female character. An exceedingly funny piece. Hans figures as a 
Justice in the absence of his master, and his exploits are extremely ludricous. 
Costumes modern. Scene, plain room. Time of performance, twenty minutes. 

67. THE FALSE FRIEND. A Drama in two acts, by Geo. S. Vautrot. 6 
male, 1 female character. Simple scenery and costumes. First class characters 
for leading man, old man, villain, a rollicking Irishman, etc. also a good lead- 
ing lady. This drama is one of thrilling interest, and dramatic companies will 
invariably be pleased with it. Time of performance, one hour and forty-five 

minutes. 

68. THE SHAM PROFESSOR. A Farce in one act, by F. L. Cutler. 4 male 
characters. This intensely funny afterpiece can be produced by any company. 
The characters are all first class, and the "colored individual" is especially fun- 
ny. Scene, a plain room. Costumes, simple. Time of performance, about 
twenty minutes. 

69. MOTHER'S FOOL. A Farce in one act, by W. Henri Wilkins. 6 male, 
1 female character. Like all of Mr. Wilkins' plays, this is first class. The 
characters are all well drawn, it is very amusing, and proves an immense suc- 
cess wherever produced. Scene, a simple room. Costumes modern. Time of 
performance, thirty minutes. 

70. WHLCH WILL HE MARRY. A Farce in one act, by Thomas Egerton 
Wilks. 2 male, 8 female characters. Scene, a street. Costumes modern. Easi- 
ly arranged on any stage. A barber hears that one of eight women has fallen 
heir to some money, not knowing which, he makes love to them all. This, to- 
gether with the revenge the females have upon him, will prove laughable enough 
to suit any one. Time of representation, thirty minutes. 

71. THE REWARD OF CRIME, OR THE LOVE OF GOLD. A Drama of 
Vermont, in two acts, by W. Henri Wilkins. 5 male, 3 female characters. A 
drama from the pen of this authoi is sufficient guarantee of its excellence. 
Characters for old man, 1st and 2d heavy men, juvenile. A splendid Yankee, 
lively enough to suit any one. Old woman, juvenile woman, and comedy. 
Costumes modern. Scene, plain rooms and street. Time of performance, one 
hour and thirty minutes. Easily placed upon the stage, and a great favorite 
with amatuers. 

72. THE DEUCE IS IN HIM. A Farce in one act, by R. J. Raymond. 8 
male, 1 female character. Scene, a plain room. Costumes modern. This farce 
is easily arranged, and can be produced on any stage, in fact, in a parlor. The 
pranks of the doctor's boy will keep an audience in roars of laughter, every line 
being full of fun. Time of performance, thirty minutes. Order this, and you 
will be pleased. 

73. AT LAST. A Temperance Drama in three acts, by G. S. Vautrot. 7 male 
1 female character. This is one of the most effective temperance plays ever pub- 
lished. Good characters for leading man, 1st and 2d villain, a detective, old 
man, a Yankee, and a capital negro, also leading lady. The temptations of city 
life are faithfully depicted, the effects of gambling, strong drink, etc. Every 
company that orders it will produce it. Costumes modern. Scene, Mobile, 
Time of performance, one hour and thirty minutes. 

74. HOW TO TAME YOUR MOTHER-IN-LAW. A Farce in one act, by 
Henry J. Byron. 4 male, 2 female characters. Scene, parlor, supposed to be in 
the rear of a grocers shop. Costumes modern. Whiffles the proprietor of the 
grocery, has a mother-in-law who is always interfering with his business. Vari- 
ous expedients are resorted to to cure her — a mutual friend is called in who, by 
the aid of various disguises frightens the old lady nearly to death, fina.ly Whif- 
fles gets on a "ge-lorious drunk," and at last triumphs. A perfect success. 
Time of performance, thirty-five minutes. 



AMES' STANDARD AND MINOR ORAM A. 



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75. ADRIFT. A Temperance Drama, in three acts, by Chas. W. Babcock, 
M. D. Six male, four female characters. Good characters for leading man, 
villain, comedy, juvenile, a capital negro, and jolly Irishman. Abo leading la - 
dy, little girl, juveuile lady, and old negress. A deep plot, characters well 
drawn and language pure. Easily produced. Scenery simple ond costumes 
modern. Time bt perfermauce, one hour and a half. 

76. HO W HE DID IT. A comic Drama in one act, by John Parry, three 
male, two female characters. An amusing scene from real life. A plot is laid 
to cure a husband, who having lost a first wife whom he domineered over, tries 
to treat a second one in like manner. A splendid comedian's part. Time about 
thirty minutes. Costumes modern. 

77. JOES VISIT. An Ethiopean burlesque on the Rough Diamond, two 
male, one female characters. Easily produced and very laughable. Can also be 
played white. Time twenty minutes. Costumes extravagant negro. 

78. AN A WFUL CRIMINAL. A Farce in one act, by J. Palgrave Simpson, 
three male, three female characters. Plot excellent and its development very 
amusing. Th« oftener produced the better it is liked — is in one scene and easily 
put upon the stage. Costumes simple. Time thirty-five minutes. 

79. THE SPY OF ATLANTA. A Grand Military Allegory in six acts, by 
A. D. Ames and C. G. Bartley, fourteen male, three females. This play is found- 
ed on incidents which occured during the war of the Rebellion — it introduces 
Ohio's brave and gallant McPherson — the manner of his capture and death. It 
abounds with beautiful tableaux, drills, marches, battle scenes, Andersonville, 
etc., and is pronounced by the press and public, the most successful military 
play ever produced. G. A. R. Posts, Military Companies and other organiza- 
tions, who may wish something which will draw, should produce it. It may 
not be out of place to add that this play with the incidents of the death of Mc- 
Pherson, was written with the consent of the General's brother, R. B. McPher- 
son, since dead, who fully approved of it. Price 25 cents per copy. 

80. ALARMINGLY S-USPICIOUS. A Comedietta in one act, by J. Pal- 
grave Simpson, four male, three females. This play is easily arranged, and the 
plot excellent. Some things are "Alarmingly Suspicious" however, and it will 
please an audieuce. Time forty-five minutes. 

81. OLD PHIL'S BIRTHDAY. A serio-comic Drama in two acts, by J. 
P. Wooler, five male, two females. Scenery easily arranged. Costumes modern. 
One of the purest and most attractive plays ever published. The charcter of 
"Old Phil" cannot be excelled, and tb* balance are every one good. Time one 
hour and forty-five ninutes. 

82. KILLING TIME. A Farce In one act, one male, one female. Scene a 
drawing room. Costumes modern. A woman held captive at home by the rain 
seeks to "kill time." How she doesit is told by this farce. Time about thirty 
minutes. 

83. OUT ON THE WORLD. A Drama In three acts, five males, four fe- 
males. Scenery not difficult. Modern costumes. A thrilling picture of love, 
fidelity and devotion. Excellent leading characters and Irish comedy, both 
male and female. Can be produced on any stage. Time two hours. An Amer- 
ican Drama. 

84. C^GEK WILL WIN. A Farce for three male characters, by W. E. 
Suter. Costumes modern. Scene plain apartment. It is said that nothing will 
carrv a man through the world as well as plenty of "cheek." A striking ex- 
ample is given in this farce. It will please all. Time thirty minutes. 

8n. THE OUTCASTS WIFE. A domestic Drama in three acts, by Colin 
H. Hazlewood, twelve males, three females. Costumes modern. A thrilling 
play of the blood and thunder order, abounding in exciting scenes, and hair- 
breadth escapes, Is a favorite wherever produced, and has leading man, old 
man, juvenile and comedy characters. The "wife" is a grand one for leading 
lady, and there is a good comedy. Time one hour and fort3 T -five minutes. 

86. BLACK VS WHITE OR THE NIGGER AND YANKEE. A Farce 
in one act, by Geo. S. Vautrot, four males, two females. Simple scenery. Mod- 
ern costumes. In this farce is combined the Ethiopean and Yankee, both 
characters being very funny, as well as other excellent parts. Time of perform- 
ance, thirty-five minutes. 



AMES' PLAYSr-COlSTTIKUED, 



NO. M. P. 

46 Man and Wife, drama, 5 acts, by H. A. Web>ber 12 7 

91 Michael Erie, drama, 2 acts, by Egerton Wilks 8 3 

36 Miller of Derwent Water, drama, 3 acts, by E. Fitzball 5 2 

83 Mischievous Nigger, ethiopean farce, 1 act, by C. White. ..4 2 

34 Mistletoe Bough, melo-drama, 2 acts, by C. Somerset 7 3 

69 Mother's Fool, farce, 1 act, by W. Henri Wilkins 6 1 

1 Mr. & Mrs. Pringle, farce, 1 act, by Don T. De Treuba Cosio..7 2 

23 My Heart's in the Highlands, farce, 1 act, 4 3 

32 My Wife's Relations, comedietta, 1 act, by Walter Gordon. ..4 4 
90 No Cure No Pay, ethiopean farce, 1 act, by G. W. H. Griffin..3 1 

61 Not as Deaf as He Seems, ethiopean farce, 1 act, 2 

37 Not so Bad After All, comedy, 3 acts, by Wybert Reeve 6 5 

44 Obedience, comedietta, 1 act, by Hattie L. Lambla 1 2 

81 Old Phil's Birthday, drama, 2 acts, by J. P. Wooler 5 2 

33 On the Sly, farce, 1 act, by John Madison Morton 3 2 

109 Other People's Children, etho farce, 1 act, by A. N. Field 3 2 

85 Outcast's Wife, drama, 3 acts, by Colin H. Hnzlewood......l2 3 

8-3 Out on the World, drama, 3 acts, 5 4 

53 Out in the Streets, temp drama, 3 acts, by S. N. Cook 6 4 

57 Paddy Miles' Boy, irish farce, 1 act, by James Pilgrim 5 2 

29 Painter of Ghent, play, lace, by Douglass Jerrold 5 2 

114 Passions, comedy, 4 acts, by F. Marmaduke Dey 8 4 

18 Poacher's Doom, domestic drama, 3 acts, by A. D. Ames.., ..8 3 

51 Rescued, temperance drama.. 2 acts, by C. H. Gilbert 5 3 

110 Reverses, domestic drama, 5 acts, by A. Newton Field 12 6 

45 Rock Allen the Orphan, dramn, 1 act, by W. Henri Wilkins..5 3 

96 Rooms to Let without Board, ethiopean farce, ] act, 2 1 

59 Saved, temperance sketch, 1 act, by Edwin Tardy 2 3 

48 Schnaps, dutch farce, 1 act, by M. A. D. Cliffton 1 1 

107 School, ethiopean farce, 1 act, by A. Newton Field 5 

115 S. H. A. M. Pinafore, burl'sq, 1 act, by W. Henri Wilkins.. .5 3 

55 Somebody's Nobody, farce, 1 act, by C. A. Maltby 3 2 

94 Sixteen Thousand Years Ago, ethiopean farce, 1 act, 3 

25 Sport with a Spo'.tsimui, ethiopean farce, 1 act, 2 

79 Spy of Atlanta, military allegory, b' acts, by A. D. Ames. ..14 3 

92 Stage Struck Darkey, ethiopean farce, 1 act, 2 1 

10 Stocks Up, Stocks Down, ethiopean farce, 1 act, 2 

62 Ten Nights in a Bar Room, temperance drama, 5 acts, 7 3 

64 That Boy Sam, etho farce, 1 act, by F. L. Cutler 3 1 

40 That Mysterious Bundle, farce, 1 act, by H. L. Lambla 2 2 

38 The Bewitched Closet, sketch, 1 act, by II. L. Lambla ...5 2 

87 The Biter Bit, comedy, 2 acts, by Barh'am Livius 5 2 

101 The Coming Man, farce, 1 act, by W. Henri Wilkins ....3 1 

67 The False Friend, drama, 2 act, by Geo. S. Vautrot..., 6 1 

97 The Fatal Blow, melo-drama, 2 acts, by Edward Fitzball. ..7 1 

93 The Gentleman in Black, drama, 2 act, W. H. Murry .9 4 

112 The New Magdalen, drama, pro 3 acts, by A. Newton Field.. .8 3 

71 The Reward of Crime, drama, 2 acts, by W. Henri Wilkins..5 3 

16 The Serf, tragedy, 5 acts, by R. Talbot , 6 3 

68 The Sham Professor, farce, 1 act, by F. L. Cutler .4 

6 The Studio, ethiopean farce, 1 act, 3 

102 Turn of the Tide, temp drama, 3 acts, by W. Henri Wilkins...7 4 
54 The Two T. J's, farce, 1 act, by Martin Beecher 4 2 

Catalogue continued on last page of cover. 



iiiiiiiimiSii 0F C0NGRESS 

= — 016 215 009 1 & j 

AMES' PLAYSr-CONTLNTUED. 



7 The Vowof the Ornani, drama, 3 acts, byJ. N.Gotthold 8 1 

28 Thirty-three next Birthday, farce, 1 act, by M. Morton 4 2 

118 Those Awful Boys, etho farce, 1 act, by A. Newton Field 5 

63 Three Glasses a Day, teni dm, 2 acts, by W. Henri Wilkins...4 2 

105 Through Snow and Sunshine, drama, 5 nets. 6 4 

4 Twnin's Dodging, etho fnrce, 1 act, bv A. Newton Field 3 1 

5 When Women Weep, eom'd'ta, 1 act, bv J. N.Gotthold 3 2 

56 Wooing Under Difficulties, farce, 1 act, by J. T. Douglass. ..4 3 

41 Won at Last, comedy drama, 3 acts, by Wybert Reeve 7 3 

70 Which will he Marry, farce, 1 act, by Tims. E. Wilks 2 8 

58 Wrecked, temperance drama, 2 acts, by A. D. Ames 9 3 

111 Yankee Duelist, farce, 1 act, by A. Newton Field 2 2 



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A. D. AMES, Pub., Clyde, Ohio. 



